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ASPECT-(9NPASS

THE

ARCHITECTURAL ANNUAL

PUBLISHED UNDER THE AUSPICES OF

THE ARCHITECTURAL LEAGUE OF AMERICA

AND EDITED BY

ALBERT KELSEY

LATE HOLDER OF THE TRAVELLING SCHOLARSHIP IN ARCHITECTURE OF THE UNIVERSITY
OF PENNSYLVANIA; FORMER PRESIDENT OF THE T-SQUARE CLUB; DELEGATE
TO THE INTERNATIONAL CONGRESS OF ARCHITECTS, BRUSSELS, 1897;
MEMBER OF THE COMMITTEE ON WORKS OF ART OF THE FAIR-
MOUNT PARK ART ASSOCIATION, AND PRESIDENT OF
THE ARCHITECTURAL LEAGUE OF AMERICA

ISSUE FOR

1900

PHILADELPHIA

£be architectural annual

931 CHESTNUT STREET

ALBERT KBLSEY

Press of

Rdw. Stem & Co., Inc.

Philadelphia

TO THE YOUNG MAN OF AMBITION:

BE HE ARCHITECT OR DRAUGHTSMAN,
EITHER RICH OR POOR, WHO, NOTWITHSTAND-
ING THE TEMPTATIONS OF UNPROFESSIONAL
EMINENCE, RELIES UPON HONEST PERSEVER-
ANCE, HIS OWN STRONG EFFORTS AND A DEEP,
GROUNDED DEVOTION TO HIS ART.

MAY HE AVAIL HIMSELF OF THE FREELY
OFFERED OPPORTUNITIES FOR EDUCATION,
AND MAY HE ACQUIRE, THROUGH A KNOWL-
EDGE OF HIS FELLOW-WORKERS CENTURIES
REMOVED, AN ENTHUSIASTIC SPIRIT THAT WILL
URGE HIM TOWARD THE CREATION OF VITAL
ARCHITECTURE.

MAY HIS MIND BE BROADENED BY THE
FOSTERING OF HIS IMAGINATIVE AND INVEN-
TIVE FACULTIES, AND BY THE INTERPRETATION
OF THE SIGNIFICANT FORCES THAT SURGE
ABOUT HIM; AND LAST OF ALL, MAY HIS CON-
TRIBUTIONS TO AMERICAN ARCHITECTURE SIN-
CERELY AND LOYALLY DEMONSTRATE A REALI-
ZATION OF AMERICAN PROGRESS.

Publishers' Note

/'JV looking forward to the Architectural Annual for
ipoi, the publishers find pleasure in feeling that in

taking its place among the motithly and weekly periodi-
cals as a resume of Architectural history for the year it
holds a place entirely its own, and does not enter a field
already ably filled by contemporary periodicals ; and
neither pains nor expenses will be spared to make it
absolute in its own place as a carefully arranged reference
book of Architectural a?id related subjects for the year.

To keep the standard of accuracy in all details at
the highest point shall be the aim of the publishers , and
as an assistance towards this end, the Architectural An-
nual solicits exchanges with contemporary journals of
the profession, and will at all times be glad to receive
books for review, announcements and reports of architec-
tural schools, reports of meetings, data of all sorts,
MS. contributions ranging front 500 to 1 ,000 zvords, as
ivell as notes and suggestions of architectural interests.
It is the aim of the Annual to record above all the
growth and influence of those changes of architectural
sentiment that cannot be felt or measured week by week,
but the course of which may be traced in a review of
the longer period covered by the Annual, and in the light
of which the significance of contemporary variation may
be more accurately judged. All communications should
be addressed to the Editor of the Architectural Annual,
at pji Chestnut Street, Philadelphia.

ARCHITECTURAL ANNUAL

1 1

CONTENTS

Portrait. Charles Follen McKim 14

Editorials 15-26

" The Modern Phase of Architecture." Louis H.

Sullivan 27

President Van Brunt's Address 28- 31

A Letter by Ernest Flagg 31

Extract from the Cleveland Architectural Club

Catalogue 32

Charles Follen McKim, Architect 33

A Competition Free from Spurious French Orna-
ment 34- 35

Art in America 36- 37

Extract from the Detroit Architectural Club

Catalogue

" From Generation to Generation." Chas. Graf-
ley, Sculptor

" The Architectural School, from the Architect's

Standpoint." George R. Dean

Richard Morris Hunt

" The Municipal Building Problem in Cleveland."

Herbert B. Briggs . . ■ 43- 46

" The Baltimore Conference on Municipal Art."

George Kriehn

' ' Obligation of Architects to City Beauty. ' '

Charles Mulford Robinson

Baron Haussmann. Wm. P. Cresson 49-

The National Committee on Municipal Improve-
ments and Civic Embellishment

The Phcebe A. Hearst Plan for the University of

California 53- 90

A Letter from J. L. Pascal, Membre de Pln-

stitut 55-56

A Paper by John Belcher, A.R. A 56-58

"Commercial Architecture." Wm. Copeland

Furber, M. Am. Soc. C. E 91- 95

The Travelling Fellowship, Cornell University . 96- 98
" A Code Governing Competition." Julius F.

Harder 99-'03

" Lessons from the Paris Exhibition" 104-111

Extracts from Papers. H. K. Bush-Brown . . 112-115
Statuary. J. Massey Rhind, Sculptor 1 16- 117

39" 4o
41- 42

The Cleveland Convention of the Architectural

League of America 1 18-120

"Wilson Eyre, Jr. His Work." Alfred M.

Githens 121-184

Statue of Benjamin Franklin. John J. Boyle,

Sculptor . 185

Historical Figures. J. M issey Rhind 186-187

Designs for the New United States Naval

Academy. Ernest Flagg, Architect 188-193

Two Spandrels. J. Massey Rhind, Sculptor . . 194-195
"Indian and Buffalo." H. K. Bush-Brown,

Sculptor 196

" The Science of Cities." Parti 197-212

United States Immigrant Station, New York . . 213

Lofty Buildings, Two Notable Examples . . . 214-215
Arthur Spayd Brooke. An Appreciation .... 216-217

A Proposed Bridge 217

Public Toilet Facilities 218-219

City Bridges 220-226

Extract from the Book of the Chicago Exhibi-
tion 226

A Chain of Beacon Monuments 227

Extract from the T-Square Club Catalogue . . . 228
Proposed College Drinking Fountain. Alexan-
der Stirling Calder, Sculptor 229

Enigmas 230-231

A Country House. Horace Trumbauer, Archi-
tect 232

Street Pageantry 233-240

Au American Basement House. Boring &

Tilton, Architects 241

The Pillory 242-244

The New York Custom House Competition.

Two Designs 245

The Dewey Arch 246-250

The Marquise 251-255

The Fifth International Congress of Architects . 256-257

A Paper by Edwin Henri Oliver 258-259

Some Lessons from the United States 260-261

The Directory 262-292

Advertisements i-xxiv

ARCHITECTURAL ANNUAL

CLASSIFIED LIST OF ADVERTISERS

The publishers of the Architectural Annual desire to thank the advertisers for their confidence in the pages
of a new publication, and hope for a continuance of their favor.

In the Architectural Annual for 1901 it is intended to reduce the amount of space devoted to advertise-
ments, and all announcements will be accepted only subject to the approval of the editor, who reserves the right
to reject any arrangement of matter which he mav consider detrimental to the appearance of the work.

It is the intention to advance the rates of advertising, and by reducing the number of pages to make these
columns a convenient reference list of the announcement of standard products.

ART METAL WORK

Bayer, Gardner & Hinies

De Kosenko Mfg. Co., The

Shannon Mfg. Co

Tuttle & Bailey Mfg. Co

Williams, Jno

BLUE PRINTS
Blumhard, C. A

BOILERS
Smith Co., H. B

BRICKLAYERS AND CONTRACTORS

Atkinson, John

Stewart & Co., Chas

BRICK MANUFACTURERS

White Brick and Terra-Cotta Co

CARPETS

Goldthwait & Co., Joel

CEMENT

American Cement Co

Knickerbocker Lime Co

Lawrence Cement Co

Sears, Humbert & Co

WTarnerCo., Chas

CONTRACTORS AND BUILDERS

Fuller Co., Geo. A

Pinkerton Construction Co

Seeds, Thomas M., Jr.

Smedley Construction Co

DECORATIVE GLASS

Heineke & Bowen

MacLean Co

Smith, H. J

Tyrolese Art Glass Co

ELECTRICAL CONTRACTORS AND ENCINE

Buchanan & Co., J. F

D'Olier Engineering Co

ENGRAVING

Electro-Tint Engraving Co

FIRE BRICKS AND RETORTS

Borgner Co., Cyrus

FIREPLACE FURNISHINGS

Vulcanite Tile and Mosaic Co

FIREPROOF BUILDING MATERIALS

New York and New Jersey Fireproofing Co

Rapp, John W

ROOFING PAINT, GRAPHITE

Dixon Crucible Co., Joseph , . .

ROOFING MATERIALS

Fay Manilla Roofing Co

Garrett-Buchanan Co

RUBBER TILE, INTERLOCKING

New York Belting and Packing Co

SASH CORDS

Silver Lake Co

SHINGLE STAINS
Cabot, Samuel

xxi

vii

xviii

xxiii

XIV

xxii

xxix

xiv

xxii

xxiii

xiv

xii
xxi

xiii
ERS

viii
iii

xvii

xm
viii

STEAM SPECIALTIES

Watson & McDaniel Co xv

FURNACES AND RANGES

Makin-Kelsey Co v

Thomas, Roberts, Stevenson Co xxi

GAS AND ELECTRIC FIXTURES

De Kosenko Mfg. Co., The vii

HARDWARE

Bayer, Gardner & Himes xxi

IRON-STRUCTURAL AND ORNAMENTAL

Shannon Mfg. Co xix

LAUNDRY MACHINERY

Troy Laundry Machinery Co vii

MANTELS

Vulcanite Tile and Mosaic Co xxiii

MARBLE, IMITATION

Mycenian Marble Co xvi

MODELLERS AND CARVERS

Emmel, Charles xii

PAINTING AND DECORATING

Black & Son, F. A xiii

PAINTS, OILS AND VARNISHES

Dixon Crucible Co., Joseph vi

Felton, Sibley & Co ' xvi

New Jersey Zinc Co viii

PAPERS

Garrett-Buchanan Co viii

PARQUET FLOORS, GRILLES
Heaton & Wood xiii

PHOTOGRAPHS

Dillon, James L xxiii

PIPE COVERING

Keasby & Mattison Co i

PLASTER MANUFACTURERS

Knickerbocker Lime Co xxii

PLUMBING COODS

McCambridge & Co iv

PUBLISHERS

Leach & Co., T. S ii

RADIATORS

Smith Co., The H. B xiv

REFRIGERATORS

Ridgway Refrigerator Co xxiii

REGISTERS

Tuttle & Bailey Mfg. Co xx

STRUCTURAL STEEL PAINT

Dixon Crucible Co., Joseph vi

TERRA-COTTA

White Brick and Terra-Cotta Co xi

TILES AND MOSAICS

Vulcanite Tile and Mosaic Co xxiii

VENTILATORS

Berger Bros. Co -. xii

National Paucoast Ventilator Co xx

The Architectural Annual

AN ILLUSTRATED REVIEW OF
VOL. I. CONTEMPORANEOUS ARCHITECTURE

THE PROGRESS OF THE PROFESSION

1900

Responsive, To a desire to know our
introductory, brother architects whose work we
already knew so favorably ;

To a desire to co-ordinate the work of various
architectural clubs and to secure the benefits of
co-operation ;

To a desire to profit by the experience of
others, and to share the result of our own ;

And to a call issued by a number of archi-
tectural clubs,

We met at Cleveland, June 2 and 3, 1899.

Resulting, In our returning to our homes in
possession of

The memory of a beautiful city and hospitable
friends,

The acquaintance of new friends, and the dis-
covery that independent thought is general,

The inspiration growing from conference with
fellow-workers,

The organization of the Architectural League
of America,

And two dominant convictions :

First, That the architectural club has an im-
portant and unique civic relation, that it may
lead its city's development in beauty, and that it
may and must interest the public and co-operate
with it ; and

Second, That much as we revere precedent,
that it is not honest to follow it blindly, that
progress demands of us that we make our work
express our civilization as correctly as the works
of antiquity interpreted their times, and that our
duty is to study conditions and guide develop-
ment along organic lines, placing

Progress before Precedent, and showing our
meaning by building our ideals and by solving
problems of utility in terms of beauty.

The Spirit of
the Cleveland
Convention.

The Architectural League of Amer-
ica has received much commendation
for its principles set forth in the
Cleveland Convention. Scattered clubs of artists
and sculptors have followed a similar impulse and
the consolidation of art societies has become a

new phase of art development. The League was
formed as a federation of clubs rather than a
complete association, so its policy of "the open
door " in membership will insure a large attend-
ance at the Chicago Convention next June. All
architectural organizations and municipal art
societies are given cordial invitation. Since the
League was established, not in a spirit of rivalry,
but in a spirit of modest emulation of the Insti-
tute, the Chicago Convention will offer the oppor-
tunity for a pleasant exchange of ideas and
courtesies between the older and younger national
organizations and may lead to the establishment
of a formal " entente cordiale."

Iu its relation to the community the conven-
tion at Cleveland sought to discover the social
purpose of the nation, and it very significantly
asked if exotic architecture, however suitable to
foreign needs, tells our history aright. It mani-
fested a keen interest in municipal adornment
and sought to aid public taste in its development,
placing at the service of any community the
knowledge and acquirements within the League's
possession.

In determining its attitude toward the profes-
sion, the convention emphatically declared itself
opposed to political preferment in competitions and
it decided to be energetic, active and fearless in
revealing the existence of such. It set the cri-
terion of quality and character above the magni-
tude of a man's professional practice and looked
with no favorable countenance on hypocrisy in
architecture.

Toward the profession at large the League
stimulated thought along broader lines, and
called attention to the necessity for worthy ideals
and higher standards. Its life shall be spent in
singling out real talent wherever it exists, and in
its duties of mentor of the young art societies
now in its train.

American vim and vigor are behind the move-
ment, and men whose countenances are once
turned from greed of money toward the higher
ideal of fame are not to be halted until an impress

ARCHITECTURAL ANNUAL

has been made upon ignorance and prevailing
wrongs.

There was a time when the pro-
Professionai fession was disorganized and pos-

Self-respect. CT . . t_

sessed of mercenary ambitions, but,
even then, a few loyal workers were striving
incessantly to give the architect a standing be-
yond that of the mere romantic designer and
the hustler.

They were rewarded by unexpected encour-
agement from without. Recognizing such efforts
as commendable, an art patron, a writer, or a
college professor would claim for architecture its
deserved reception as a dignified and worthy
profession. In it they saw opportunities for the
loftiest careers.

College architectural courses have been
formed, newspaper and periodical writers have
been produced whose contributions are on archi-
tectural subjects, until at present the profession
is receiving more sincere encouragement from the
world at large.

Thus far evolution has gone, but degeneracy
is threatening us. If, with our present hard-
earned prestige, we are too weak to maintain our
ideals, if we countenance scandals, such as that
of the Pennsylvania State Capitol, or work for
unremunerative commissions, we have ourselves
to blame for the degradation.

Something must be done to place a

Honesty. premium upon professional conduct.

The unscrupulous rapacity of the

"plan-factory-boodlers" who enjoy their eminence

unrebuked sets a bad example, which must be

corrected.

The time has come for drawing a sharp line
of demarcation between the architect and the
"sheister," and this task should not be left to
the younger element of the profession to perform.
It is not their province ; yet already they are
preparing for the task, and unless something is
done, and "you cannot make an omelet without
breaking eggs," these vampires will have to
encounter a moral force from a quarter on which
they have not reckoned, and one which also
escaped the discernment of the Pittsburg Conven-
tion.

Young Men
Forging to
the Front.

Much, doubtless, of the mass of
work done by the architectural
clubs of the country, more especially
the younger societies, seems elementary and of
small value, and therefore the increasing recogni-
tion the young men are commanding, for them-
selves and the reforms they advocate, is as much
out of proportion to their experience as to their

years. In consequence, some claim their promi-
nence is due to youthful aggressiveness alone, and
fail to see that it is simply the result of a lack of
whole-hearted leadership on the part of those yet
best able to direct the advancement of the pro-
fession.

The development of the club and its activity
in the architectural life of the country is moving
more rapidly than ever before ; thus, under the
circumstances, and in view of its new work and
responsibilities, it is bound to push its own mem-
bers more and more to the front.

Quality

Architecture.

Architecture as a business, architec-
ture as a profession and architecture
as an art are not synonymous terms.
As a business, it involves building ; as a profes-
sion, it has to do with design and building, and,
as an art, it includes the former elements and be-
comes a vehicle of thought.

With but few exceptions, until five or ten
years ago, architecture in the United States was
but a business. Now it is a recognized profession,
notwithstanding that several of its most' 'eminent"
members are nothing more than unscrupulous
business men, and signs are not wanting of the
development of that higher type in which art and
intellectuality vitalize and add soul to the design.
As a business, architecture is ground out like
any other commercial product, and is paid for on
a competitive basis, the lowest bidder frequently
being retained. As a profession, a certain stand-
ard of excellence is aimed at, and uniform charges
prevail. As an art, it becomes a matter of indi-
vidual Lalent, far removed from competitive busi-
ness, and, in consequence, like a portrait painter,
the great architect must receive a special price
for his services to enable him to give the neces-
sary time and study to his work.

Year by year these classifications become more
and more distinct, and, in that the professional
man and the specialist receive more and more and
better and better patronage, the advancement of
architecture is assured. Their absolute leadership
may for some time yet go unrecognized, as archi-
tecture also has its jealousies and its bigotries,
but the men who think rationally, study deeply
and design unaffectedly will yet have their day.

Commission

vs.

Quality.

It is gratifying to note the ad-
vance in architectural design, but
such an advance seems even more
amazing when the present state of architectural
commissions is considered. An architect now is
paid not in proportion to the excellence of his
design, the watchfulness of his superintendence
or the conscientious efforts on his part to mini-
mize the expense, but in proportion to the entire

ARCHITECTURAL ANNUAL

cost of the work — even more remunerative when
the operation is ground out rapidly and freed of
all time-consuming details.

That this has encouraged the structural steel
companies to include in their bids the services of
an engineer who works out the construction and
enabled the terra-cotta companies to make detail
drawings from very small scale suggestions with-
out apparently charging either architect or owner
for them is perfectly apparent to any student of
this system. In extreme cases, it has led to
bribery and corruption. A sincere love for the
ideals of architecture has enabled the best men
to avoid these temptations and achieve the best
possible results in the face of a constantly dimin-
ishing profit.

Architects give their time and money to their
work as do the members of no other profession,
while the appreciation of such efforts is entirely
disproportionate. Some few boldly assert them-
selves and are well paid. It is to such men that
we must look for the maintenance of the pro-
fession's standards. Unless conscienceless archi-
tects can be brought to see that by cutting rates
and preparing free preliminary sketches they are
both standing in their own light and casting a
shadow over the entire profession, little further
can be expected in original design. The natural
outcome must be either strengthened opposition
by honest architects or superficial work by dis-
honest ones.

Few stop to consider, as the}7 pass
ViTeechUa"regres stately old city residences, that
for\vorkStic wnen those monotonous lines of

dwellings were built, row upon
row, often from the same plans, with the same
simple detail drawings, the architect's "5 per
cent, commission on the total cost of each" was
about commensurate with his labor. If they do
consider it, they seldom realize that the homes
for the same class of people to-day need entirely
separate designs, each intricate in plan and orna-
mentation, with varied material, complicated
mechanical plants and peculiarly individual re-
quirements. The architect's office expenses —
more than doubled in this class of work — are
overlooked by those old-fashioned owners, who
expect to procure good architects on the com-
mission of the past generation. Some grudg-
ingly pay six or seven, but the more enlightened
clients are willing to pay the proper charge of
from 7 to 12 per cent., according to the difficul-
ties encountered and the method adopted in
letting contracts. Eight per cent, upon the total
cost of a thoroughly well-designed and superin-
tended private residence is only a fair compensa-
tion for the architect, and, should the cost of the

dwelling exceed $50,000, a clerk of the works
should exclusively superintend the house at the
client's expense.

Open

A promising sign of advance in the
,. profession is the unanimous decision

by its better element that open, un-
limited competitions are demoralizing and are
usually productive of most unsatisfactory results.
That most of these men support their belief by
refraining from participating in unpaid and un-
limited contests is greatly to be commended.
Already competitions by invitation or by limited
invitation are becoming general among intelli-
gent people ; they realize that great expense is
involved to the architect, and that doing his best
is out of the question when all may be hazarded
for nothing. While there are some architects
who clamor for these open competitions, the
world sees that these are not the representative
architects of proven experience, but are usually
either the young, unrestrained enthusiasts, or
the unscrupulous, who count upon something
more than architectural merit to see them through.

^ . . *. From Boston and Pittsburg rumors

An Ecclesiastic ° .

Architectural have reached us that efforts are being
put forth to form an ecclesiastic
architectural society. Evidently architects are
beginning to specialize, as men of other profes-
sions. In consequence of this, church architec-
ture, so sadly neglected of late, may once more
become the boast and pride of the people. We
trust that the proposed society may speedily be
formed, for one can plainly foresee possibilities for
worthy achievements by such an organization.

In the train of the Municipal Art
moBnr"^e"*al Movement that so widely distributed

itself over the country tangible re-
sults are appearing. The monumental treatment
of American bridges is at last being considered
within the realm of reason. We have seen de-
signs for two such structures, and they are vast
and imposing enough to stagger those accustomed
to only the utilitarian. It is a hopeful sign of
the times that Washington, under the patronage
of the Federal Government, contemplates erect-
ing a bridge across the Potomac, which will more
than rival that designed to span the Charles
between Boston and Charleston. The former is
double-decked, with trolley tracks below; an archi-
tectural viaduct of beauty leads to it, and the
central feature, like the Charles River bridge, is to
be extremely high and monumental. Instead of
the twin bascule-bridges of the latter, both decks
are to be raised by hydraulic force, like an eleva-
tor, between four towers, supporting above them

ARCHITECTURAL ANNUAL

an open metal dome. Should both of these de-
signs be executed, the United States will possess
two bridges of imposing character, architecturally
considered ; and if in their development local
history is symbolized, they will form landmarks
of national significance.

Again, it has been proposed, and wisely, too,
to transform the Dewey Arch or Naval Arch, in
New York, into a monumental approach to one
of the great bridges of the upper city. The
harmony and embellishment of cities is thus
being worked out hand-in-hand with utilitarian
problems.

The life of contemporary journalism

Relation of the . . ,, , , r J J

Daily Press to is vitally dependent upon progres-

Architecture. . , . . ., ,TM

sive and original news. That news-
paper which can gather to itself the largest
" scoop " in any field of activity is decidedly sure
of its sales among the workers in that field when
the " scoop " appears in its columns. However
much the press may seek to mount the pedestal
which places it in the position of a dictator, it is
continually in need of even scraps of news on
almost every line of work. By referring to every
great building enterpiise with enthusiasm a
daily journal realizes that it is touching a sym-
pathetic chord among the people. A building
operation must be heralded and described to the
smallest detail as soon as the first move is made
toward the demolishing of its predecessor or the
first pick is driven into the ground that will later
support it.

Not only must the general public be informed,
but the press feels that a duty rests upon it to
praise the public spirit of the promoters — whether
such a spirit exists or not — and to dwell upon the
superlative grandeur and purity of style, even
though the structure may be the most hideous of
buildings. No real estate editor exists who will
not garnish and amplify his brief announcement
of a building event with a meaningless jargon of
adjectives and phrases rarely found outside a
schoolgirl's composition. It is all very logical,
for it is of interest to both the newspaper and
the promoter of the scheme.

Recognizing the attitude of the papers toward
such matters some years ago, the T-Square Club
sent the following request to all the leading dailies
of Philadelphia:

;' Whereas, The daily journals of this city
devote periodically certain space to 'Art News '
and ' Real Estate Notes,' making all critical
reports of architecture under one or the other of
these headings ;

"Be it resolved, That the T- Square Club com-
municate officially with the managing editors of
the principal Philadelphia daily papers, and re-

quest their co-operation in bringing architecture
as a fine art to the attention of the public ; and,

"Be it resolved, That this be accomplished by
allotting periodically a column to "Architectural
Notes ;" and that under this head all news relat-
ing to architectural development and criticism be
inserted."

Although the editors did not comply with all
the intentions of the T-Square Club, beneficial
effects of this appeal have been noticed in many
instances.

Frequently editorial comments have been
made upon architectural projects, problems and
achievements ; prominent architects have been
interviewed, and, altogether, the newspaper world
has come to the realization of the importance of
architecture in our daily life.

One evening paper recently published a list
of questions bearing upon the greatest events of
the year. Among them was one : " What is the
most notable building erected in Philadelphia
during the past twelve months ?" Such a ques-
tion stimulated public interest in a subject that
lacks proper study by the masses. It manifested
a healthy tendency toward the intelligent regard-
ing of architectural successes.

In the "End of the Century Supplement,"
published by the New York Journal, on December
31st, four pages were devoted to a review of the
progress of the past 100 years in eighteen differ-
ent lines of activity. In the discussion of these
subjects appeared such prominent names as
Charles Dudley Warner, Seth Low, Henry M.
Stanley, Joseph Jefferson, Rudolph Virchow,
Rabbi Gottheil, Max Nordau, Dr. Ernest Haeckel
and Susan B. Anthony. Architecture was given
an honored place in the "Supplement," and the
discussion of its progress was entrusted to J. S.
Barney. We quote from his well-written article
the following :

" Conditions create a style. Genius furnishes
examples. Our advance to a pure, true and dis-
tinctive style in architecture is as certain and
irresistible as is the march to our natural posi-
tion in the front rank of the nations of the earth.
Architecture is much affected by fashion and
fad, but we must not forget that the conditions
of life, ambitions and religion of a people deter-
mine the style of their architecture, and not the
whims of misguided imitators. We are great,
powerful and rich, full of youth and vigor, and
it is but natural to expect that we will develop
an architecture upon which we will impress
these characteristics."

These and many other evidences should con-
vince the architectural world that the press is
stretching forth a fraternal hand toward the pro-
fession, and that it desires to give publicity to

ARCHITECTURAL ANNUAL

architectural aims, theories and achievements
just as much as it desires to please ever y one by
its universality. A much greater opportunity in
this matter of publicity is before the clubs and
architectural organizations, for the events that
occur in the routine of club work are valuable
" write-ups" from the newspaperman's point of
view. Again, clubs are given attention where
an individual would be neglected. From the
side of the club it is a decided advantage and a
help in its work. It advertises the workers
sufficiently to encourage and sustain their efforts.
When with such ease widespread publicity is to
be obtained, the club that neglects these oppor-
tunities is injuring itself and hindering the prog-
ress of architecture. The public are gradually
coming to realize that the architect is an im-
portant factor in their dail}T life, and architecture
is becoming one of the chief objects of pride to
the American people.

With great reluctance the Judiciary
a scandal. Committee of the American Institute
of Architects at last has investigated
the case of the Philadelphia Chapter vs. Henry
Ives Cobb for his participation in the second
competition for the Pennsylvania State Capitol
Building.

It will be remembered that the T-Square Club
requested the resignation of one of its members
over two years ago for participating in this out-
rageous scramble, that the members of a firm in
New York and the members of another firm in
Philadelphia were compelled to resign from the-
local chapters for the same offence, and yet the
Judiciary Committee of the Institute, in censuring
Mr. Henry Ives Cobb for entering the competition
and securing the work, find nothing against him,
as he is one of the most " eminent " members of
the pro'tssion.

The verdict recalls a sentence once imposed
by the celebrated Judge Walker, of Macon, Mis-
sissippi: "The learned Court finds you guilty,
sah, very guilty, and sentences you to banish-
ment, sah, for the period of one whole year, sah,
from Noxubee County, Mississippi, sah — so help
you Gawd, sah !"

The student fresh from the Eeole

Expression in

Architectural des Beaux-Arts thinks himself a

Forms.

cosmopolitan and believes contempo-
raneous architecture should be a universal
language.

He scorns uncertain archaeologists. He ridi-
cules their charming adaptations and refers to
"that Midway Plaisance architecture of the
Streets of Cairo" and "Old Oxford Type"
with profound contempt.

In short, he will not admit that it is serious or
anything but a decadent fad. And yet often his
own productions are but servile copies, usually
meaningless and always lacking in sentiment ;
but, if confronted, he will tell you that they are
modern and therefore of this day and generation.

Bewildered by the self-consciousness of both
factions, the seeker after truth reasons that it is
not because native themes are lacking at the
present time in the United States that our archi-
tects and sculptors fail to symbolize in original
terms, but because they do not feel as deeply as
they should. Mere ornament, composition or
frank structural expression is usually the limit.
But there are a few exceptions and it is pleasant
to bear testimony to the fact that in one or two
recent instances buildings of note have been
accented with new symbols whose significance is
as apparent as the art is true. It shows that there
are some architects striving to put architecture, as
a living fine art, upon a higher level ; and it also
shows that there are still others who believe that
our civilization does not necessarily grind the
romance out of life.

Listen to the words of Phillips Brooks : " What
is there anywhere more poetic, anything that
more appeals to the imagination than the bril-
liant advance of natural science? What is there
in chivalry more exalted and thrilling than the
lives of men who have lived and died in privation
and delight for science and its progress? When
have men ever proved themselves morecapableof
lofty and large ideas than in these days, when
thej' are dreaming of a ' federation of mankind, '
war replaced by peaceful arbitration, and crimi-
nals reformed by industry and kindness, and
povert}' obliterated by universal organized char-
ity ? No crusade of the Middle Ages has anything
like the real romantic inspiration that belongs to
the modern crusade against ignorance — the dream
of universal education. No old vision of a splen-
did feudalism so taxed and exalted the imagina-
tion as the modern picture of self-government.
No. It is not that our age is sordid. Itisnotthat
it has proved itself incapable of large ideas and
glowing visions. It has a romance brighter than
any other age ever possessed. And so long as it
has that, it has not lost the capacity of faith. "

The problem given in the competi-
stlndarao" tioii for the John Stewardson
scholarship work.Memorial Travelling Scholarship
at the University of Pennsylvania demonstrates
the liberal and progressive way in which that insti-
tution does its work An institution that does not
hesitate to place its own graduates in a competi-
tion freely opened to all young architects of the
State may well be expected to foster aggressive

ARCHITECTURAL ANNUAL

American ideas. The problem called for "a
design for the improvement of the entrance to
Fairmount Park, Philadelphia, by a proper treat-
ment of a plot of ground bounded by several city
streets, and of the bank of the reservoir opposite
the plot. " Although the problem from its practi-
cal side resembles the T-Square Club's series of
connected programs, it could not, of course,
possess the same unity. Of the latter, The Archi-
tectural Review recently said, editorially .•

"Apart from the interesting and valuable
nature of this scheme so far as the profession at
large is concerned, it possesses another element
of value that should not be overlooked by similar
architectural societies throughout the country.
It gives a unity to the work of the club and
affords an element of vital interest to the men
who may be working in it that has been difficult
to obtain, and has therefore been lacking in work
of a similar nature. ' '

The presence of local color and immediate re-
quirements in the Stewardson Competition must
be highly commended. The city contemplated
the purchase of the site and it was within easy
access of the students. Such a tangible, practical
problem compelled them to work in an unaffected
light and made their reasoning and design a most
natural growth.

The standard of prize work has considerably
increased during the last few years ; in two or
three instances advanced students and those
studying abroad have entered and won scholar-
ships at home. Mr. Pulsifer won the Rotch
Travelling Scholarship last spring, after several
years abroad and after he had made a commenda-
ble record in the Ecole des Beaux-Arts. His own
strong design made the entire competition of a
higher standard. So frequently Paris upsets a
young American's ideas that no small time is re-
quired to reacclimate oneself; so that some
advanced minds have come to think that no
longer is it advisable to journey abroad to obtain
the best education.

Another beneficial effect on the standard of
work has been the close association between col-
leges and architectural clubs in the cities. When
prize memberships in the club have been offered
to students and the college lectures thrown open
to members of architectural societies there has
always resulted a higher respect for the older
members of the profession, the young men have
been given a broader future, and in return have
brought to the clubs that new life so necessary to
any club's existence.

A technical education of high calibre is now
demanded of every architect, just as it is demand-
ed in other professions. The outcome has been
either the success of those technically trained or

the necessity for some of the older architects to
hire such men, because their own training is
insufficient to cope with present-day problems.

Elsewhere are printed the entire conditions of
the recently organized Travelling Scholarship at
Cornell, and to our thinking it is a most enlight-
ened program. Unlike the regulations of other
institutions, this scholarship compels the holder
to return to his college after a number of months
abroad and upon the completing of a period of
home study to return for a prescribed line of
work.

Competition
Code.

The general code governing compe-
titions in design, recommended by
the first Convention of the Archi-
tectural League of America for adoption by archi-
tectural bodies,- has been formally ratified by
five. The President of the American Insti-
tute of Architects has appointed a committee
to confer with a committee from the Archi-
tectural League of America to consider the
subject, together with other matters of mutual
interest. While several hundred copies of the
code have been distributed and a number of
competitions held under its regulations, in its
present form, as printed on page 102, it is a docu-
ment somewhat too lengthy. The proposition
to reduce it to a single sheet, a business blank
form, which may be filled out to suit every-da3>-
problems, is a good one. Under such an arrange-
ment all architects could keep a supply at hand
to distribute upon their first knowledge of a con-
templated competition.

The enforcement of the code, trials or penal-
ties that may result from it, or the question of
rate and basis of remuneration, the code does not
now cover, but such matters may be decided
when the committee from the American Institute
of Architects has given its opinion at its meet-
ing with the committee from the Architectural
League of America.

The societies having adopted the code an-
nounce their willingness to assist in formulating
competition programs, and they urge the adop-
tion of the code by other societies, for they
believe it furnishes a standard for the client, a
basis for mutual understanding in the profession,
and will undoubtedly be influential in producing
a morale that does not now exist.

In many different States and for

The Licensing . , . . . _,.

of some time past the subject 01 licens-

Architects •

ing architects has been discussed
quite seriously. Since the fall of 1897, an
Illinois law has required architects to apply for a
license to practice in that State and has defined
an architect as " a person who shall be engaged

ARCHITECTURAL ANNUAL

in the planning or supervision of the erection,
enlargement or alteration of buildings for others,
and to be constructed by other persons than him-
self." It is w.ll known that builders, with their
plan-factories and their offers of high wages to
good draughtsmen, have worked toward the
demoralization of the profession. Clearly was
this demonstrated at one of the leading bnilders'
exchanges, when the bnilders who make drawings
refused to post theirs for other builders arrd sub-
contractors to take off quantities and bid upon.
Architects had been requested to do so and the
formal request of the latter for like action on the
designiug builders' part compelled the culprits
to seek shelter in silence.

The Cleveland Convention brought the matter
before the country and since then the profession
in many States have been actively advocating its
adoption. The New York League has discussed
it frequently and maintained a strong stand in
favor of the passage of a law to govern the
practice. The Architectural Society in Louis-
iana has recently been organized for the accom-
plishment of just such legislation.

In the professions of law and medicine the
" quack " is to be deplored and he is rightly sup-
pressed by legislation. The unprofessional prac-
titioner in architecture is similarly open to attack.
The Institute's decision to require candidates for
membership to pass examinations is a step along
the broad road of progress, but, as Architecture
has said in its issue of April 15, 1900 :

"We do not wish to belittle in any way the
splendid work done by the Institute in upbuilding
the profession of architecture, or to detract an
iota from the universal respect in which that
body is held by the public, but it is a fact that,
numerically, the Institute represents but a small
portion of the active practitioners. In every
centre of population the local architectural asso-
ciation outnumbers the chapter in the same town
or city ten to one, and for that reason alone it
seems to us that the necessary reforms can not
be expected from this source, however com-
mendable the desire may be to enforce them."

If this degrading of the architectural profes-
sion is to be prevented it must be done systemati-
cally, strongly and immediately. Reforms from
within will not suffice, for the greatest danger is
from without. When the licensing of architects
is made compulsory through the passage of a
law, we may hope for the brightest accomplish-
ments in an unhampered profession.

If any evidence were needed to
content?™? establish the fact that the American
Institute of Architects has an es-
cutcheon sadly in need of scouring, that evidence

might be taken from the reports, excursions and
general proceedings of the Pittsburg Convention.
We shall not dwell on such irritating details as
the insignificant number of delegates, the un-
comfortable accommodation of invited guests, the
external noise and the internal calm of the meet-
ing-hall, or the apparent lack of business to be
transacted. All of these particulars have been
referred to in other publications. An important
consideration, however, is the determining of the
policy and beliefs of the Institute, as judged by
its discussions.

Possibly, taken as a whole, the readings were
quite above the average performance at previous
conventions, but it would be wasting time to
enter into a discussion of many of them. The
dreary, tedious reading of an essay thus took the
place of what might have been a bright, ex-
temporaneous discussion of matters in hand.
With all this waste time and effort, the conven-
tion succeeded in establishing a code of examina-
tion requirements — a feat which no other Insti-
tute convention ever had sufficient courage to
accomplish.

Having heard so much of "Spanish pride"
during our late unpleasantness with that nation,
it is both surprising and amusing to read in the
Institute President's address the boast that out of
5,000 architects in the United States, only 4,500
are outside the ranks of the faithful, or " that the
influence of the Institute is in proportion rather
to the wisdom than the number of its members,"
or that the Institute stands for " the enactment
of a law sufficient to secure for us a truly national
architecture fit to represent our highest standards
in art. ' ' We regret that the Institute has reached
such a stage of inaction as would appear from
the following portion of President Van Brunt's
speech :

' ' If, after those many years of experiment, we
have at length reached an era of tranquil and
prosperous development, let us realize that the
best we can make of this peace is to comprehend
and to assume all the grave responsibilities which
belong to the undisputed position of the Institute
as the national representative and protector of a
great profession, and a greater art."

All will acknowledge that the greatest event
in the convention was the passage of a law provid-
ing that after January 1, 1905, graduation from
some recognized architectural school, or the pas-
sage of examinations to be held by the Institute,
shall be required of all candidates for admission to
membership. And hand-in-hand with this meri-
torious action are the President's address and the
report of the Committee on Education, which
dwell at length upon the Institute's need for
young men and new life. All possible ways and

ARCHITECTURAL ANNUAL

means were recommended for luring the young
into the chapters. The suggestion was made
that "the Institute should be especially hos-
.pitable to the graduates of the schools . .
so that the professors prove the most effective
recruiting agents and that their pupils be made
to consider that junior membership in the Insti-
tute is essential to their proper and regular ad-
vancement in the profession."

Such a suggestion would have been received
by the architectural world as a mark of sincerity
upon the part of the Institute, but when con-
sidered with the weak-hearted position which the
Institute maintained toward Professor Laird
when the latter made his manly and courageous
stand against debased political schemes, the
words seem to possess more a spirit of sham
than sincerity. Most assuredly Professor Laird,
and all other architectural professors, will refuse
utterly to act in the capacity of recruiting agents
to a society whose present members are too weak
to point the finger of scorn at the culprits in their
midst. Young men are Liberals, not Conserva-
tives, and their object in joining the Institute, as
it exists at present, would be far from any desire
to sanction its abuses.

The Institute cannot conceal its urgent need
for young men. They are seeking all reasonable
means to accomplish it. When they sent to the
young architects who have gained travelling
fellowships, asking them each to place one of their
drawings on permanent exhibition in their Wash-
ington headquarters, the Institute rightly judged
that a very urgent plea had been made to the
ambitions of youth. The results of the request,
however, should sufficiently convince the Insti-
tute that the young architects of to-day are avoid-
ing that organization while it countenances men
of "eminence" who are not men of principle.
If the Institute will give only one demonstration —
one practical example — of its firm desire to make
the path of rectitude attractive, if it will show that
an obscure man in the right is more to be honored
than an "eminent" man under suspicion,
the younger architects will not merely furnish
the bare walls of the Octagon, but will gladly
ally themselves with the organization and give it
the new life that is vitally necessary now.

Too much has been written and read
John Ruskin. about the late John Ruskin for us

to add anything new as a tribute to
his memory. Be it sufficient to say that uncon-
sciously his spirit will ever be present in the
world, leavening the lethargic minds of the un-
appreciative and unlearned. His influence in art
was for a time almost a dictatorship. Even those
art critics of to-day who sympathize but little with

Ruskin's views are compelled to respect the beliefs
and criticisms of a man who rose head and
shoulders above his fellows. The impetus he
gave to art appreciation, in an age when all crea-
tion seemed benumbed, is felt even now and will
continue permanent.

Many years ago he refused the much-coveted
royal gold medal, annually bestowed by Her
Majesty, through the Royal Institute of British
Architects, upon some architect or writer upon
architecture. He said medals give no uplift to
art. Just so he lived and worked, an indepen-
dent, honest and unselfish man.

The University of California eom-
whoisWho? petition was the means of bringing
to light the name of the real author
of the Fine Arts Building at the World's Fair.
It is but a matter of time ere ability receives its
due reward. Some would argue that no great
reproach falls upon Mr. Atwood for appropriat-
ing M. Benard's design, since the erection of the
White City required much hurry, and the same
critics would commend the former for hidden
possibilities in the original that would not have
been brought out had M. Benard detailed the
design. However that may be, the scheme was
plagiarized without acknowledgment.

In the same connection we know of a talented
but impecunious young man who designed two
sets of drawings for an exclusive invitation com-
petition held during the past year. Both of
these were submitted under firm names of different
architects in different cities who employed him.

We know of a large marble building now
being erected which was designed by an obscure
draughtsman who for months past did night-
work on ^4-inch scale detail drawings at his
home more than a hundred miles from the
so-called architect's office, and again, it has been
a source of amusement, not unmixed with proud
satisfaction, to the Beaux-Arts men to note
the radical departure and improvement in tech-
nique of designs recently issued by several large
New York offices. One can attribute these
changes to nothing but latent talent in the archi-
tects themselves, if one would not desire to
appear skeptical.

From Chicago, a city where spades are labelled
spades, and where great tasks are carried out on
broad plans, we know of an office where the
manager boasts of his ability and faculty for
getting work, and he frankly acknowledges that
it is easy enough " to hire " talent to execute it.
America has many disciples of the school of
Pecksniff.

A dignified, and ordinarily serious, member
of the profession from Boston, whose heartfelt

ARCHITECTURAL ANNUAL

interest in the profession must be unquestioned,
recently reproved a young man for taking too
great an interest in the general conduct of com-
petitions. His expressed belitf was that young
men had much before them and should confine
themselves to study and training instead of con-
cerning themselves with professional affairs. To
quote his consoling words: " By virtue of their
age and experience, only the older members of
the profession can consider these things with
their peers (?). "

How can even these few observations be re-
conciled ? If the young men are performing the
work of successful prominent architects even at
a considerable distance from the office itself,
how much study and training is still beyond
them ere the pinnacle of eminence is to be
attained — or rather, accorded them ?

T. r . . While there is no abatement of busi-

The Commercial

Value of a ness rivalry in the practice of archi-

Reputation. *

tecture, certain firms are being
singled out, year by year, for excellence in a special
class of work. This is but a natural process of evo-
lution. It also gives evidence of a just appreciation
on the part of the public. From it we may draw
the conclusion that architecture, like every other
profession, is beginning to develop its specialists.
Church architects, theatre architects, residence
architects and commercial building architects are
reaping large rewards in their several specialties.
On the other hand, the jack-of-all-trades in archi-
tecture is becoming a decided drug on the
market.

The men who have reached higher ground in
the profession by such specializing are looked
upon as the most competent to serve on juries
whose compensations are large. They are in-
vited to enter exclusive, paid competitions, and
by the world generally are given larger and
more remunerative practices. When a munici-
pality or a corporation is contemplating some
vast improvement, such men are selected merely
upon reputations along their individual lines.
Men of this calibre may be found among both
the young and old. It is the quality of their
work that marks them and justly brings them
honor.

In noting the signs of the times, it is
Mr' TayforKnox gratifying to bear testimony to the

improvement in the office of the
supervising architect of the Treasury Depart-
ment. Throughout the department are men who
have higher standards and clearer consciences,
but Mr. James Knox Taylor, the present supervis-
ing architect, deserves the grateful acknowledg-
ment of the entire profession for his attitude

toward the Tarsney Act. We should recognize
him as a true friend. It requires no very extensive
stretch of the imagination to bring to mind super-
vising architects who have been entirely out of
harmony with the profession. Mr. Taylor tcok
part in the Baltimore conference, and, with higher
ideals, is a firm ally of those interested in better
architecture.

Another important consideration,
Symbolism hitherto largely overlooked, is the
necessity for using indigenous sources
of imagination. Let no one label this as a ques-
tion in the abstract philosophy of art, for such it
is not. It relates itself too closely with our every-
day life. Regardless of the age of a community,
in spite of the sterility of the region as regards
legends, there must be some individual trait that
may be fruitful of inspiration to the architect.

We plagiarize because we are weak. How
seldom is found any trace of local symbolism in
the designing of to-day. Climatic conditions and
inherent suggestions are refused admittance to
the office of the modern American architect.
The enthusiasm that inspires the historical painter
is lost to him. Yet, how much more necessary
is this quality in a monument standing amid the
very deeds of the modern community and erected
as a commemoration of some great native cause.

True, to-day an architect is expected to be a
scientific economist as well as an artist and con-
structor, but, with all the drawbacks so prevalent
in the sham culture of to-day, it must not be for-
gotten that before people could read or write sym-
bolism was appreciated in spite of all ignorance.

That it will be generally appreciated again
cannot be denied, for the people in their con-
ception of architecture find proportion and mass
secondary to ornament and color. Even the
busiest and most unappreciative are at once im-
pressed by sculpture and detail ; these crude dis-
tinctions may be the limit of their appreciation.
At any rate, it is usually these they first look for
in sizing up a building, and, finding them, are
pleased. Where a well-proportioned plain build-
ing appeals to one, an ornate structure, no matter
how meaningless its decoration may be, attracts
the attention of a dozen. Therefore we predict
that, now that the art of composition is beginning
to be mastered, the next step will be symbolistic
expression. What permits us to hope for such
an outcome is on the one hand the rapid develop-
ment of artistic taste, and moreover the clear
proof of the commercial value of art in attracting
people, beside the innate love of our own past,
which seldom fails to awaken a sympathetic
chord. What our best architecture now most
lacks is that elusive spirit, soul.

ARCHITECTURAL ANNUAL

Recently a Senate Committee au-
AF^neArtesr.°f thorized a favorable report on the
bill to establish a Department of
Commerce and Industry, with a new cabinet offi-
cer at its head. Many of the great nations of the
world have governmental departments of similar
scope, and the committee appears to hold the
view that certain bureaus now scattered through
various other departments legitimately belong
together, constituting a new one.

While changes in the structure of the Cabinet
are being considered, another department even
more urgently needed, from our point of view,
and for which we also find precedent among the
older nations, is a Department of the Fine Arts.
We are already burdened with too many societies
giving gratuitous advice as to the improvement
of the artistic possibilities of our cities, and,
although they rarely have anjr power to back
up their opinions, they have succeeded in doing
considerable good in the preservation of natural
beauties and in giving direction to public taste
in matters of the arrangement and decoration of
public places.

What is really needed, however, is a depart-
ment with sufficient authority to enforce its
decisions and the right to pass upon the artistic
value of public works, and of all structures that
seriously affect the appearance of our cities and
harbors.

In the control which the War Department
holds over the water-fronts of navigable streams
we have a parallel case, and, as it controls the
wharf and navigation lines in reference to safety
and navigability, it would be within the scope of
a Fine Arts Department to see that the shores
were not heedlessly disfigured by ignorant and
arrogant corporations, and that natural opportu-
nities were preserved and developed with the
growth of the city upon its banks. And even
if so important a change in the attitude of the
Government is not at once practicable, the War
Department itself, through a special bureau with
a competent architect at its head, could perform
similar functions, at least in reference to our
rivers and harbors and other works under its
control.

Municipal
Art.

The formation of numerous muni-
cipal art societies throughout the
country is a gratifying sign of
progress, and the frequent conferences which
are held from time to time in different cities, and
to which speakers of eminence are invited, bear
witness to the increased interest of the public
in these matters.

In the formation of a National Committee
for Municipal Improvement and Civic Embellish-

ment by the Architectural League of America,
with Mr. Cass Gilbert as its chairman, and
in the one session of the Congress of the same
association soon to be held in Chicago, consist-
ing of a public joint meeting with the American
Park and Outdoor Art Association, are seen
two future steps in the same direction, and
constitute hopeful signs for the future appear-
ance of our cities.

As we go to press the first Circuit
Architectural of the Architectural League of

Exhibitions. A ,v' < ir

America is more than half com-
pleted, the travelling exhibition having been
displayed in Philadelphia, New York, Chicago,
St. Louis and Detroit thus far. While it is too
early to offer an opinion as to the success of this
enterprise, we may call attention to some of the
experiences encountered thus far. Theoretically
the circuit offers mutual advantages which
can scarcely be obtained without such united
effort, and in practice it is found that the
responsibility falling upon the first club holding
an exhibition is counterbalanced by the ad-
vantages gained by being first to exhibit and in
having first choice for the catalogue.

That the circuit is a good thing we are sure,
and the difficulties that have occurred this year
have been more due to inexperience, a lack of
careful preparation, and to mistakes of judgment
than to any obstacle which could not be readily
overcome, and we know that the circuit can be
continued to advantage in future years if the
clubs unite heartily to secure the desired result,
and if each club will remember its obligations to
the succeeding exhibition committee.

The circuit and the natural growth
ciub of the profession keep the number

of exhibitions of architectural draw-
ings steadily on the increase, and as advertise-
ments in the catalogues usually cover the
exhibition expenses, the catalogue becomes an
important factor in all such enterprises, especially
as they are seldom merely illustrated lists of
the titles of drawings and the names and
addresses of exhibitors, many of them being
useful for reference and often taking the form
of local illustrated reviews of value. The best
are regularly edited by some member of the
club selected for his fitness to voice the architec-
tural sentiment of the locality.

The catalogue of the exhibition by the
Chicago Architectural Club leads in interest
among the rest this year, and Mr. Dwight
Heald Perkins, the editor, deserves great credit
for the make-up of the whole book. It contains
not only the lists and illustrations, but also a

ARCHITECTURAL ANNUAL

number of well-written short articles on local
and general topics. The expense of getting up
this catalogue was not, however, covered by
the sale of advertising space, but was borne
by a number of business men interested in
architecture, their names being given on a page
devoted to that purpose, as Patrons of the
exhibition of 1900.

No criticism is therefore possible as to the
soliciting of advertisements by the profession,
and as many architects figure among the names,
it should be a sufficient proof to the most
exacting critic of the interest of the architects in
these catalogues.

In the catalogue of the St. Louis Exhibition
there is, in addition to the usual matter, a brief
review of local architecture in the past, and
an interesting series of notes on present con-
ditions. It was edited by Mr. S. L- Sherer.
Among others we may mention that of the
T-Square Club, of Philadelphia, edited by
Mr. David Knickerbacker Boyd, and that of
the Detroit Architectural Club, edited by Mr.
Francis S. Swales, as being well-arranged ex-
amples of such publications, the latter being the
best printed catalogue we have ever seen.

international The great international fairs that
EaXsP°EpochS take place every ten years or so

Markers. jn parjs aiKj elsewhere are ex-
hibitions of the architectural progress of the
decade quite as much as of progress in other
directions ; even perhaps more so because of
the importance given on all hands to the ques-
tion of the architectural character of the build-
ings, and because of the public interest aroused
by the sudden erection at a centre of interest
of so many and such extensive buildings.

The educational influence of these expositions
was well exemplified in the case of our own
World's Fair at Chicago, which was deliberately
planned as an object lesson in the forms and
possibilities of permanent architecture and was
productive of much good in spite of the
archaeological character of most of the designs
carried out. Since that time there have been
fairs held at Atlanta, Nashville and Omaha, in
which similar ideas guided the designers of the
exposition buildings, with similar results.

In contrast, however, with this exploitation
of the ancient and alien architectural types, is
the freedom with which modern impulses have
been followed in recent French fairs, the manner
in which the festive and transitory character
of the occasion has been expressed and how
local and contemporary thought has influenced
the form and construction of these temporary
palaces.

As far as indications show, this modern
spirit will be an important factor at the Buffalo
Exposition of 1901, and it will be in a sense
the first summing up of modern endeavors in
architecture in this country.

It is to be hoped that the progressive and
public-spirited citizens of St. Louis, having
projected a world's fair for 1903, will see that,
as the buildings of the fair are to contain the
latest and highest evidences of industrial
and artistic progress, the designs for these
buildings should be chosen in the same spirit ;
that as the fair is a festival in commemoration
of local progress, and is temporary in the very
nature of the case, these facts should be ex-
pressed in its architecture, and, where possible,
emphasized as references to local history and
growth.

In the Chicago Exposition the good

How the Best , L r. . A . ° ,

Results are example was set of intrusting the
work of designing the buildings
and their arrangement to a board of architects,
selected on their reputation, from among the
ablest men in the country. These worked
together in perfect harmony for the common
end, buildings being allotted to the different
members of the board, and these receiving a
stated salary for their services.

The Board of Architects for the buildings
of the Pan-American Exposition to be held at
Buffalo in 1901 selected Mr. John M. Carrere
as their chairman, and the following allotments
have been made : Liberal Arts and Agricul-
ture, Shepley, Rutan & Coolidge, of Boston ;
Machinery and Transportation and Electricity,
Green & Wicks, of Buffalo ; Electric Tower,
Howard, Cauldwell & Morgan, of New York;
Stadium and Administration, Restaurant,
Station and Cloister, Babb, Cook & Willard,
of New York; Horticulture, Forestry and
Graphic Arts, Peabody & Stearns, of Boston ;
Temple of Music, Esenwein & Johnson, of
Buffalo ; Mines, Ethnology and three entrances,
George Cary, of Buffalo ; landscape plan, bridge,
south approach, and all formal landscape work,
except the entrance court, Carrere & Hastings,
of New York.

The board has also retained the services of
Mr. Karl Bitter, the sculptor, and M. C. Y.
Turner, the mural painter, to take charge of
the decorations, and the chief of construction is
Mr. H. S. Kissam, of New York.

Not only every city has its public
ArubraCriesal libraries as a matter of course, but
almost every little town has a col-
lection of books open to all, where standard

ARCHITECTURAL ANNUAL

works of fiction, of science and of reference can
be found. But even in large cities a well-se-
lected group of books on architectural matters
is very rare, and is usually inadequate to the
needs of the student worker or general reader.
Especially in important works of reference, man}'
of them too costly to be within the means of the
bulk of the profession, and which may not be
consulted by any one man twice a year, are the
existing collections notably deficient. Every
great library, and above all every college library,
should have these special works where they
could be consulted and studied, and there is here
an opportunity for public-minded men to assist
the existing libraries at a point where they are
now lamentably weak. Beside such works as
these there are at least two architectural
journals published in this country that should
be in the periodical room of every library.
There are a few noble exceptions to the usual con-
ditions mentioned above, and in this connection
it may be recalled that in the library of the
Carnegie Institute at Pittsburg rooms have
been devoted to the purposes of the architectural
societies of that city, and that the Institute has
solicited advice as to the selection of books on
architectural and allied subjects. A similar
request was made by the Philadelphia Free
Library at a reception given to the T-Square
Club, the members of the latter organization
being invited to attend a special reception to
offer suggestions that would assist in the forma-
tion of a public collection of works on architec-
tural and related subjects.

The

The initial number of the Archi-
ArAnne Caiural ^ctural Annual, appearing as it

does at the dawn of a new century,
both in time and ideas, seeks to represent the
age's spirit of progression, and stands as an out-

post in the realm of new and vigorous thought.
Its aims are far beyond those of a merely tech-
nical publication ; rather is it intended as a
popular book of reference, suited by its uni-
versality to the library shelf of the professional
and layman alike.

There long has been lacking a ground of
common interest for the expression of the client's
needs and the architect's ideals. It remains for
the Architectural Annual, in its unique posi-
tion, to strike the chord that shall bring into har-
mony these apparently diverse elements.

In the past incompetent architects have too
frequently brought down upon themselves a well-
merited storm of public condemnation through
the use of false and insincere standards. To
thrust upon an uninformed public alien, obsolete
styles and passing fads, simply to gratify the
"lust of the eye," without regard to logical,
common-sense architecture, has deserved the se
vere criticism that has assailed it. Unfortunately,
such criticism has not always confined itself to the
offenders alone. The results of these capricious
efforts have, in most cases, been sufficiently im-
practical to show the inability of the architect,
but too often a whole community has been en-
trapped, and ignominious reproach has been cast
upon the well-directed and earnest endeavors of
the profession. Such errors of the past have
become the correcting influences of the present.

Most necessary to-day are clearly- conceived
ideals, self assurance, based upon rigorous train-
ing, a healthier point of view, realization of the
needs of the age, and a judicious application of
standards that are in accordance with American
individuality and genius. When such ideals are
realized, the layman may assume that his trust
in the architect is not misplaced, scandals will
cease, and the fair dignity of the profession will
be preserved.

ARCHITECTURAL ANNUAL

THE MODERN PHASE OF ARCHITECTURE

BY LOUIS H. SULLIVAN
Paper rend at the first convention of the Architectural League of America.

THE Cleveland meeting of the architectural
clubs of the country will mark, I believe,
the auspicious opening of a new era in the
growth of architectural thought.

It should, in the nature of things, be of serious
import to us of the present and active generation
to know what the generation to follow thinks
and feels.

Its thoughts may be immature, its feelings
vague and formless ; yet, nevertheless, in them
the future life of our art is surely working out its
destiny, and the sincerity of them is not to be
denied.

Youth is the most ambitious, the most beau-
tiful, but the most helpless stage of life. It has
that immediate and charming idealism which
leads in the end toward greatness ; but it can
know little of the sorrow and bitterness of the
struggle for greatness. Youth is ineffable. I
have said good-bye to mine ; with solicitude I
welcome yours.

Perceiving, as I do, the momentous sway and
drift of modern life ; knowing, as I do, that the
curtain has risen on a drama, the most intense
and passionate in all history, I urge that you
cast away as worthless the shopworn and em-
pirical notion that an architect is an artist —
whatever that funny word may mean — and ac-
cept my assurance that he is and imperatively
shall be a poet and an interpreter of the national
life of his time.

Do you fully realize how despicable is a man
who betrays a trust ?

Do you know, or can you foresee, or instinct-
ively judge how acutely delicate will become, in
your time, the element of confidence and depend-
ence between man and man and between society
and the individual ?

If you realize this, you will realize at once
and forever that you, by birth, and through the
beneficence of the form of government under
which you live — that you are called upon, not
to betray, but to express the life of your own
day and generation. That society will have just

cause to hold you to account for your use of the
liberty that it has given to you, and the confi-
dence it has reposed in you.

You will realize in due time, as your lives
develop and expand, and you become richer in
experience, that a fraudulent and surreptitious
use of historical documents, however suavely
presented, however cleverly plagiarized, however
neatly repacked, however shrewdly intrigued,
will constitute and will be held to be a betrayal
of trust.

You know well what I mean. You know in
your own hearts that you are to be fakers or that
you are to be honest men.

It is futile to quibble or to protest, or to plead
ignorance or innocence, or to asseverate and urge
the force of circumstances. * * * *

If you take the pains truly to understand
your country, your people, your day, your gene-
ration, the time, the place in which you live ;
if you seek to understand, absorb, and sympa-
thize with the life around you, you will be under-
stood and sympathetically received in return.
Have no fear as to this.

Society soon will have no use for people who
have no use for it. The clairv037ance of the age
is steadily unfolding ; and it will result there-
from that the greatest poet will be he who shall
grasp and deify the commonplaces of our life —
those simple, normal feelings which the people
of his day will be helpless, otherwise, to express
— and here you have the key with which, indi-
vidually, you may unlock, in time, the portal of
3'our art.

I truly believe that your coming together will
result in serious things. You have my sympathy.
I am with you in spirit ; for in you resides the only
hope, the only sign of dawn that I can see, making
for a day that shall regenerate an art that should
be, may be and must be, the noblest, the most
intimate, the most expressive, the most eloquent
of all.

Your youth is your most precious heritage
from the past. I am with you.

ARCHITECTURAL ANNUAL

PRESIDENT VAN BRUNT'S ADDRESS, 1899

REPRINTED FROM THE OFFICIAL REPORT OF THE THIRTY-THIRD ANNUAL CONVENTION OF

THE AMERICAN INSTITUTE OF ARCHITECTS

IT is my province and my privilege to welcome
you to this Thirty-third Annual Convention
of the American Institute of Architects ; to
congratulate you on the national prosperity and
progress which it is your high function to sym-
bolize in works of architecture ; to refer briefly
to the main incidents in the history of American
architecture during the past year ; and more
especially to point out how the work which we
are organized to perform may be more effectually
carried out, and how the beneficent influence of
the Institute may be more widely extended.

If architecture during the past year has made
a sufficiently definite advance in structural inge-
nuity or artistic beauty and fitness to be noted in
the official review, which it is my duty to lay
before you, if in this interval it has earned and is
receiving from the public and the nation a more
intelligent and appreciative recognition as a fine
art, we may justly attribute these results to two
causes : first, to the American Institute of Archi-
tects, through the cordial affiliations of its mem-
bers and its organized and persistent efforts during
the more than forty years of its existence ; and,
second, to the schools of architecture, which are now
considered so essential to the generous culture of the
youth of our country that they form a part of the
systems of technical instruction in many of the
principal institutions of learning in the United
States. The splendid hospitality of the Ecole des
Beaux-Arts is no longer essential to the complete
equipment of the American architect. During the
past year the results of the special training obtained
in our own schools have become very evident. The
graduates are beginning- to make good their place in
the ranks of the profession , and the older members
find that they are stimulated by a fine emulation of
new blood and fresh inspiration. Almost daily neiv
names become prominent, and new reputations arc
beginning to struggle with old for pre-eminence .
The impulse of this new and healthy dispensation
is already felt in the remotest parts of the country,
and the vulgar architectural vernacular which lias
there prevailed is giving place to coherent and disci-
f lined style.

The Institute should take immediate measures to
refresh itself from this influx of new and abounding
life. It is most evident that these two powerful
influences, the Institute and the schools, which arc

thus working for the advancement of architecture ,
should work, not apart in rivalry, but together in
closer and more effective co-operation than hereto-
fore.

To this end, I venture to suggest that, by a sim-
ple amendment of the By-Laws, the. Committee on
Education should include, cx-ofificio, all those pro-
fessors and instructors of the architectural schools
ivho are members of the Institute, and, if there are
any who are not members, that they should be
brought within our folds, so that this committee
may act, not only as a bond of union between the
Institute and the schools, but between the schools
themselves ; that the annual report of this commit-
tee should embrace a general statement of the work
and methods of the schools, the number of pupils
enrolled, and the names of those especially dis-
tinguished; and that the practical interest of the
Institute in the "welfare of the students should be
made evident to them by the establishment of a sys-
tem of Institute prizes, and, if possible, of one or
more travelling scholarships , open to students of all
the schools.

There are nearly 5,000 persons practising as
architects in this country, and it cannot be denied
that the professional practice and standing of this
large body of men is made more secure, more
honorable, more respected, and more remunera-
tive by the fact that one tenth of their number is
organized and united in a national Institute,
which, for many years, has labored successfully
to promote the artistic, scientific, and practical
efficiency of the profession. It is true that the
influence of the Institute is in proportion rather to
the wisdom than the number of its members.
It is no less true that the Institute is organized for
a far larger and a far more widely distributed
membership than it at present enjoys, and that ,
until it has such a national membership, it cannot
have its full and proper effect as an instrument for
the advancement of our profession, and cannot ade-
quately represent its dignity before the world.

The question how our strength and resources
can be best e?ilarged is, therefore, of the first import-
ance. The men whom the Institute most needs are
the men who most need the Institute. A late ear-
nest appeal to the Chapters has, in several localities,
been fruitful in securing many valuable members,
as will be explained in the report of the Board of

ARCHITECTURAL ANNUAL

Directors. The Kansas City Chapter has been
rehabilitated and is restored to full affiliation with
the Institute under the nee By-Laws. But the
strengthening of the Institute requires measures
much more far-reaching. We need new Chapters
in every fart of o//r wide domain, and, within
then/, more members, and a much more active and
efficient adjustment of their machinery to the needs
of young men. No effor should be spared by the
Chapters to make their meetings so attractive and
so essentia/ to the younger men that the necessity for
. the existence of junior societies and leagues in their
neighborhood would be less apparent, and there
should be no occasion for rivalry. The Institute
should be especially hospitable to the graduates of
the schools, and I am persuaded that if the con-
nection between the schools a?id the Institute should
be established on some such basis of mutual interest
as has been outlined the professors would prove the
most effective recruiting agents, and that their
pupils on graduation would be made to consider
that junior membership in a Chapter of the Institute
is essential to their proper and regular advancement
in the profession and a necessary preliminary step
in their ca>'eer as architects. The Institute should
not only be the guardian of professional purity and
dignity in practice, should not only advance the
interests of our art and act as the fountain of pro-
fessional honor, but should aim to secure a more
effective unity of effort between old and young , so as
to inspire our work with the strenuous spirit of our
national life, and in this service to make our art
distinctively stronger, truer, and more beautiful.
Therefore the Institute needs in its membership not
only the wisdom of age and experience, but the
enthusiasm and zeal of youth, if it would keep in
closer toiich with the most healthy aspirations of the
profession and avoid becoming the slave of its own
traditions. To this end the junior members of the
Chapters, recruited from draughtsmen atid gradu-
ates of the schools, should be made to feel that they
are wards of the Institute and essential parts of its
organization, and to anticipate their advancement
in due time to the successive grades of Associate
membership and fill Fellowship as assurances of
honorable professional positions before the world.
It seems to me that the Institute, under its present
improved organization, would, by some such process
as I have suggested, be brought into closer and
more effective sytnpathy with . the young men just
entering the prof essioti, and through such sympathy
would receive at least as many benefits and advan-
tages as it would confer.

I commend these propositions to your careful con-
sideration ; and zvould further propose that the
Board of Directors be requested to examine into the

work and methods of the most successful of the
juuioi architectural societies or leagues, with the
object of formulating from their experience a scheme
of exercises and duties to be recommended in a cir-
cular to the Chapters, so that they may learn how
to give greater interest and a more abundant life to
thai' proceedings and become more active and effi-
cient agents in the practical work 'which this Insti-
tute is organized to perform. 'Thus may be estab-
lished a propaganda in the interests of a warmer
comradeship, a purer practice , and a nobler a rt.

In considering what has been actually accom-
plished by our efforts during the past year, it is
with especial pleasure that I refer to the fact that,
under the operations of the Tarsney Act, public
buildings at Norfolk, Va., Camden, N. J., and
Ellis Island, New York City, are now erecting
from the designs and under the care of private
architects ; that the New Custom House in New
York and the Judiciary Building in Washington
have, after fair competition, been assigned to
architects capable of expressing the genius of the
nation in monumental architecture ; and that the
Baltimore Custom House and the national build-
ings at Cleveland, Ohio, will probably soon be
the subjects of competitive design. The work on
the buildings for the Naval Academy at Annapo-
lis and on the Government building at Chicago
is in the hands of private architects. It is prob-
able that other public monuments, especially in
the West, will be open to the profession as soon
as the sites shall have been vested in the United
States. The office of the Supervising Architect
at Washington is thus gratefully relieved from a
labor which no individual genius, however strong,
and no official organization, however skilful, can
be sufficient adequately to perform. But while
the efforts of the Institute have thus far succeeded
in opening to fair and honorable competition the
designing and building of the national monuments ,
and have made an encouraging beginning in render-
ing them more worthy to represent our higher civili-
zation in terms of art, it must not be forgotten that
these opportunities have been opened to us only
through the intelligefit sympathy of the present
Honorable Secretary of the Treasury, operating
under the provisions of the Tarsney Act ; and that,
without the accident of this intelligent and excep-
tional sympathy on the part of that official, the
public buildings of our country would still be manu-
factured by the architectural machine in the Treas-
ury Department, with its subdivided professional
responsibilities , its baleful political affiliations, and
its deliberate and extravagant methods of adnmiis-
tration. Our attempts to formulate and obtai?i the
enactment of a lazv sufficient to secure for us a truly
national architecture fit to represent our highest

ARCHITECTURAL ANNUAL

standards in art should not for a moment be relaxed,
and our Legislative Committee on Government
Architecture should be continued, maintained ', and
encouraged to use every honorable means to bring
about this result at the earliest possible day.

I am glad to bear witness to the fact that, in
the conduct of competition in general, the dignity
and the highest interests of our profession have
during the past year received more adequate
and respectful consideration than heretofore. But
it must be admitted that in many parts of our
country, especially in those more remote from the
great centres of activity and intelligence, the loose
professional habits of many practitioners of our
art still encourage the publication of ' ' Invitations
to Architects," which, though proposing compe-
titions, in which the contestants are arbitrarily
deprived of every proper safeguard, and are asked
to submit themselves to conditions insulting to
their self-respect and devised to secure their
services at the smallest possible cost, meet with
ready and humiliating acceptance. Near every
such locality the Institute should maintain a
Missionary Chapter to teach the primary princi-
ples of honorable practice for the benefit, not of
the architects alone, but of the public.

Among the competitions of the year which
have been managed in a manner creditable to the
projectors, the contestants, and the judges, by far
the most conspicuous and memorable is that for
the laying out of the buildings and grounds of
the University of California, under the " Phcebe
Hearst Architectural Plan." Though the highest
award in this international competition fell to a
Fre7ich architect, the brilliant part borne, especially
by some of the younger American contestants, is a
cause for congratulation. I should like to see this
Institute, by formal resolution, recognize our
indebtedness, not only to the munificent and
public-spirited woman through whom this import-
ant architectural event was made possible, but to
the Managing Committee for furnishing an exam-
ple so conspicuous of a fairly conducted competi-
tion on a great scale, and for the courage and
intelligence with which they have conceived a
scheme of architecture which, in extent and
importance, has not been exceeded, if it has been
equalled, in modern times.

Another cause for congratulation resides in
the cordial and effective alliance between paint-
ing, sculpture and architecture, as exhibited in
several works of monumental importance which
have reached completion during the past year.
It is only by such harmonious and fruitful
co-operation that the highest civilization of our
times may, at length, begin to receive competent
expression in art. The public is beginning to
understand that the highest and noblest expres-

sions of art, not only in permanent monuments,
but in public pageants of merely temporary
significance, are possible only through such a
concert of effort, and architecture is glad to
restore to her sisters of the brush and chisel the
field of high endeavor in which the old masters
found their greatest opportunities. We especially
recognize and admire the splendid service rendered
by the sculptors in the decoration of the Triumphal
Arch erected in New York in honor of the Navy
and the victor of Manila.

I have looked forward, gentlemen of the Insti-
tute, with especial solicitude and interest to this,
your thirty-third convention, as it is the first in
which, under our finally amended laws, the
experiment of authorized delegations from the
Chapters is to be tried ; the first in which the
remodelling of the Constitution and By-Laws has
not presented itself as the paramount and absorb-
ing topic of report and discussion ; and practi-
cally the first in which the Institute has given to
it the privilege and opportunity of considering at
peace and without fear of interruption subjects
related to the highest interests of the profession.

If, after these many years of experiment, we
have at length reached an era of tranquil and
prosperous development, let us realize that the
best use we can make of this peace is to compre-
hend and to assume all the grave responsibilities
which belong to the undisputed position of the
Institute as the national representative and pro-
tector of a great profession and a greater art.

You may be sure that the civilized world will
receive with peculiar interest all that we may have
to give forth in the elucidation of the strange and
unprecedented conditions under which a rich and
prosperous nation, unembarrassed by patriotic tra-
ditions of art, is developing „ style ; that it will
eagerly hear all that zee may have to say on the
practical applications of science to architecture, on
the progress of invention in respect to building, on
the discovery of new materials and new methods
and their effect upon our art, and on the incidents
of our unimaginable progress in the future. We
alone are in position to influence the expression of
the immense energies of our nation in architecture.
Let us endeavor adequately to fulfil these duties.

I hope I may be permitted to close this address
with a brief personal statement. When at the
last convention you saw fit to make me President
of the Institute, I received the unexpected honor
as an expression of consideration and respect for
one whose connection with the Institute began at
its first conception forty-seven years ago. Recall-
ing the brilliant services of my old friends and
predecessors in this office, I undertook its respon-
sibilities with doubts and sincere misgivings.
But as the culmination of a professional career,

ARCHITECTURAL ANNUAL

now in the course of nature drawing towards its
close, and as a most precious testimonial of the
good will and kindly feeling of my professional
fellows, the honor was very grateful to me, and
I now resign it with a deep appreciation of your
generous confidence. If, possibly, it may be the
purpose of my friends to propose my name for an
election to a second term, as permitted by the
By-Taws and as customary in your practice, I

must with gratitude decline the compliment, as I
have in contemplation a long visit of study and
observation in Europe. / sincerely trust that in
choosing my successor you may be wisely guided,
and that he will receive the of/ice with the conscious-
ness that its responsibilities have increased and are
increasing with time, and that a merely perfunctory
consideration of it will delay the development of the
great future of the Institute.

A LETTER BY ERNEST FLAGG

FROM THE SYMPOSIUM PUBLISHED IN THE T-SQUARE CLUB CATALOGUE, J 89?

IR : — You ask me, ' Do you yet see any
signs to indicate the development of
an unaffected style of architecture in
America?' An architectural style is invariably the
result of an evolution and is therefore necessarily
affected by what went before. I do see, however,
what appear tome unmistakable signs to indicate
that such an evolution along logical lines is about
to take place here, an evolution which I am con-
vinced will result in the formation of a distinctly
national, ever-changing, that is to say, live, style
of architecture.

" Our architecture is soon to pass through, I
may say it has already entered upon, the first
stage of a most important crisis. Heretofore we
have had, and at the present time we have, no
such thing as American architecture, though we
have architecture in America. All the fashions
and phases through which it has passed have
been importations, and all, with the exception of
the Colonial period, have been illogical, and
therefore not lasting. The true principles of
good taste in design, which seem to have guided
our Colonial architects, unfortunately d;d not
take root deep enough to long survive the shock
of our separation from the mother country. Since
then we have imported fashions, losing sight of
the principles the use of which resulted in those
fashions — principles which, if we could have
retained them, would have given us fashions of
our own, in other words, a national style.

" A person who takes a broad look at the field
today will discern, amid all the confusion, two
forces warring with each other ; the one making
for, and the other against, the formation of an
architecture of our own. The adherents of the
former are yet comparatively few and feeble, but
certain of their ground, determined and endowed
with the fire of youth.

"The adherents of the latter, representing, as
they do, the conditions which have prevailed here
since the Revolution, are more numerous, but are

wavering, happily soon to fall. For one of these
forces must triumph over the other, and no one
who appreciates the American character at its
true worth can doubt for a moment which it
will be.

" One of these forces may be called archaeo-
logical ; it is founded upon the dry bones of the
past, and in general stands for the unthinking,
unreasoning imitation of foreign buildings and
ancient styles which were out of date and aban-
doned by the people who produced them cen-
turies ago, which have nothing to do with modern
ideas, and the imitation of which for our use is
inconsistent with the dictates of common sense.
The Chicago Exhibition was a characteristic pro-
duct of these methods. The love for this sort of
thing, not the thing itself, be it understood, but
the modern imitation of it, is fostered by a sickly
sentimentalism and a love for the picturesque
divorced from reason, which to satisfy its 'un-
healthy longings would stamp out all virility and
substitute imitation for invention in design. In
this same class must be included that great body
of self-styled architects who, innocent of a
knowledge of the first principles of the art, hav-
ing never been taught, think they are called upon
to do something wonderful and succeed in doing it.

" It is not by this road that we shall arrive at a
national style.

' ' The other force to which I have referred may
be called architectural, for it has for its aim the
introduction into our architecture the true living
spirit of the art and the age, without which it
can never be a live national art. I mean the
introduction of modern ideas, modern forms,
modern methods adapted to the life, habits,
modes of thought, resources and appliances of
the day. It would draw the good, that is to say,
the spirit, from the art of all times and all nations
and apply it to modern uses in modern ways. It
would make use of modern inventions and all the
resources which modern science has placed at the

ARCHITECTURAL ANNUAL

disposal of the architect, which, if used logically
that is, with the aid of reason, will call for new,
fresh forms, for the thought and invention which
this implies, and thus call into play the highest
gifts with which we are endowed.

" Its adherents are being taught the true prin-
ciples of design by the greatest masters of the
most artistic nation of Europe. And these prin-
ciples are bound to take root here because they
are logical, reasonable, right and true. In time
they will produce their legitimate result, and we
shall have an architecture of our own.

"The movement is young, its adherents are
young, and they have the faults of youth.
They are perhaps a little arrogant and self-con-
fident, they assume too much, think they
are the elect, and that the mantles of the masters
have fallen upon them. Many of them make
poor work of what they have learned. All are
inclined to imitate the architecture of their mas-

ters, which is natural and harmless, for it cannot
be lasting, and we must have some point of
departure. Many of them lose sight of what is
good in the work of those with whom they do not
agree, and are disliked in consequence.

" It is not, therefore, to be wondered at that the
true significance of the movement is cot always
understood. It is not surprising that, looking at
the surface, some take it to be an attempt to Galli-
cize American art and regard it as a passing
fashion, like those which have preceded it. Nor
is it surprising that some regard with distrust a
movement which they do not altogether compre-
hend. There are those who, unacquainted with
the principles which lie beneath the surface,
make light of a movement which, in spite of its
apparent contradictions and inconsistencies, is
destined to be productive of the most far-
reaching and momentous consequences to Amer-
ican art."

EXTRACT FROM THE CLEVELAND
ARCHITECTURAL CLUB CATA-
LOGUE, 1900

HERBERT B. BRIGGS, EDITOR

*0 the Architectural Club the 'Technical
Club ' rooms mean more than a home,
for they made possible the entertainment
by it of the representatives from the architectural
clubs and kindred organizations of the United
States and Canada, who, on June 3, 1899, organ-
ized the Architectural League of America.

" Here in the assembly room gathered the men
who represent the younger brawn and sinew of
the New World's architectural profession. Here
were presented the papers, addresses and discus-
sions which preceded the act of organization.
Here plans for the future were carefully con-
sidered and promulgated. Here was read that
memorable letter of greeting and encouragement

from Mr. Louis H. Sullivan, of Chicago, one of
the pioneers in the true development of a national
architecture.

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' ' The first year of the League has been largely
an experimental one, some mistakes have been
made, the exhibition circuit has not run as
smoothly as it will when the system is thoroughly
perfected ; in tangible results very little can be
shown ; but, in the idea started, the acquaint-
ances formed, the experiences, the mistakes, the
lessons of the year's exhibition circuit, and in the
concentrated thought of many minds upon ways
and means for its improvement and development,
a most decided and important forward step has
been taken. The coming Chicago Convention
will show results that the Cleveland Convention
could not possibly have developed.

"The Cleveland Club hereby reaffirms its
allegiance to the Architectural League of
America."

ARCHITECTURAL ANNUAL

CHARLES FOLLEN McKIM

ARCHITECT

THERE should be no hesitation in discuss-
ing the work of a living architect, for, no
matter how it may be in other professions,
an architect's achievements are of such a durable
nature that, when once completed, they stand
before the modern critic just as they will stand —

" When Earth's last picture is painted, and the tubes are
twisted and dried,
When the oldest colors have faded, and the youngest
critic has died."

The subject of this biographical sketch is
now but fifty-two, being born in Chester County,
Pa., August 24, 1847. At the age of twenty
he had completed his academic training in
America by graduating from the Harvard Scien-
tific School. Then he spent three years in the
Ecole des Beaux-Arts, and returned to study
under a New York architect. Upon entering
professional life in 1880, he became partner of
Messrs. William R. Mead and Stanford White.
Mr. McKim is singled out for this sketch more
on account of deeds that extend beyond the
office and draughting room, than because he
merits an unequal share of the praise due the
firm. Beside being an architect, he is a clubman,
a connoisseur and a patron of art.

The results of this firm's labor and thought,
now scattered over the entire country, comprise
university buildings, public libraries, churches,
club houses, music halls, hotels and office build-
ings. The Century, Metropolitan, University
and Harvard club houses in New York, and the
Algonquin, in Boston, were designed under the
watchful eye of Mr. McKim. His libraries are
the most monumental of his work, and speak
loudest of the firm's ability.

By the use of most exquisite Italian and
classic ornament, by the importation of rich
marbles and old art iron woik, and by adap-
tation of ancient forms, McKim 's work has had
a very decided direction. We have grown more
critical, more sensitive as the century has pro-
gressed, and optical refinements, such as existed
in the horizontal curves of the Parthenon, have
been reproduced in the Columbia Library, thus
acknowledgng the return of the refined Greek
sense of beauty, for these characteristics of design
have been noted by some unconsciously, by
others wisely. McKim's method of suiting
foreign successes to American needs has given an
impetus to archaeological research, and demon-
strated to us the riches of other architectures,

never to be wholly acquired after years of aca-
demic training.

That such efforts toward the realization of
the beautiful have been appreciated has been
lately shown by a competition held in a con-
temporary architectural magazine. Three of the
ten buildings, voted for by the subscribers as the
most beautiful in America, were designed by
McKim, Mead & White. This is even a higher
estimate when we realize that two of the remain-
ing seven were not of the present generation —
the Capitol at Washington and Trinity Church,
New York City.

Whatever criticism has been made at length
on the use of precedent in their buildings, sepa-
rately considered, it must be acknowledged that
the firm of McKim, Mead & White have always
possessed an exact estimate of the value of
ancient forms as stimulants to the imagination.
Theirs is a method of selection — a choosing of
the beautiful and useful — a rejecting of the in-
artistic and commonplace of former architectures.
It is not, as some would suggest, a blind groping
after a harmonious effect, but it is marked by the
scientific element that distinguishes the artist
from the artisan. They seem able "out of a
senseless Nothing to provoke a conscious Some-
thing." Granting that several of the best exam-
ples of other periods have been bodily trans-
planted in America, such adaptations have taught
them, in their maturer work, to add soul and
grace to purely modern products.

With all such efforts to relate the past to the
present, Mr. McKim's interest in the progress of
the world about him has been paramount. By
introducing mural decoration into America he
offered opportunities for developing the genius
of Sargent and Abbey. Equally great sculptors,
such as St. Gaudens and Martiny, have profited
by him. He, among the few, was sincere enough
to acknowledge the art in MacMonnies' ' ' Bac-
chante," above the clamor of falsely Puritanic
opinions. Such is his attitude toward the aes-
thetic tendencies of the present. As friend and
patron of Columbia University, and as founder
of the American School at Rome, he must be
accorded the highest praise as a benefactor of
art in a most material way, His name is the
watchword of those who are carrying the torch
of architectural art a few paces forward into the
future. He stands forth a worthy example, little
followed in these hurried days.

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ARCHITECTURAL ANNUAL

ART IN AMERICA

REPRINTED FROM THE "AMERICAN ARCHITECT," JUNE 3, 1899

FOLLOWING are some portions of an in-
teresting and striking address made by
Brooks Adams at the joint annual dinner
of the National Sculpture Society and of the
National Society of Mural Painters in New-
York :

>lMr. President, Ladies and Gentlemen :

" My pleasure at meeting you here to-night
is damped by my diffidence in attempting to
address so distinguished an audience on any
subject akin to art, and yet I find a consolation
in the thought that perhaps even my words may
be of some avail, since I hope I represent the body
of our people, and it has ever been the function of
the artist and the poet to give expression to the
popular aspiration of their age.

' ' Fortune has led me toward a wandering
life, and, like other wanderers, I am prone to
compare the countries which I see. I am sure
I do not err in saying that as year by year I
return to Western Europe I mark a subtile
change ; the energy with which those nations
palpitated when I was a boy is ebbing, and with
the national vitality ebbs the national art. The
form may survive, but the fire which quickened
the form is flickering low. Each year on return-
ing home I note the exact converse. Our society
is gathering monicntuni, and as it surges onward
our art gains dignity and scope. Well do I remem-
ber when our fathers thought this land a barren
soil which could never nurture the architect and the
sculptor, and yet, as I glance about me now, I see
toe lead the van. Since the medieval Frenchmen
tinted the rose of Rheims no such color has glowed
hi glass as in the windows of fohn La Farge ; no
nobler statues are carved than those conceived by St.
Gaudcns ; while in power and technique no paint-
ing or etching excels that of Whistler and of Sar-
gent. Lastly, in architecture we stand, in some
respects, alojie. In 'ingenuity and daring we have
few rivals, but architecture is a great subject, and
it is of that I chiefly wish to speak.

" Passing over such effects as those made at
Chicago, which were ephemeral, and confining
myself to durable monuments, I will take the
new Library of Congress to illustrate my mean-
ing. Now, I am a literary man ; books are my
trade, and in talking of a library I speak of what
I understand. I affirm that as a workshop this
building approaches perfection. It is ample, it
is light, it is convenient, while in rapidity of ser-

vice it can hardly be excelled. In the National
Library of Paris it costs an hour to get a book,
in the British Museum half an hour, in Wash-
ington five minutes. In Paris and London one
works in dark and gloomy rooms, often crowded
to excess. In Washington the reading rooms
are numerous, cheerful and comfortable. All
this and more may be said of the practical
side of this building ; but is utility all that
a nation may demand from artists ? This
year forms a grave epoch in our national life,
and to-night I would speak gravely. I apprehend
that zve stand tcpon the brink of a new era, when a
rising tide of national feeling will demand a more
serious form of artistic expression, especially in our
public monuments. I return to the Library to ex-
plain myself. The plan of the structure is good,
but the plan of our building is apt to be bid a skele-
ton— to find the lip we often have to seek the decora-
tion. The habit of our artists is to speak through
ornament, and, to me at least, ornament has been
the reproach of American art. It has been the re-
proach because it has been redolent of money.

" How fashionable has it been to copy foreign
masterpieces, without regard to their meaning,
simply as a toy. Sometimes we have found a
model in a Hindoo temple, sometimes in a Gothic
shrine, and what has taken our fancy we have
adapted to strange uses, as a savage adapts a
white man's clothes. Our chief preoccupation
seems to have been to produce the effect of
wealth, to exult in gold and marble, and elabo-
rate carving, only for display. Doubtless in the
Library of Congress there are individual works of
merit, but the whole lacks gravity and unity, and
smacks of ostentation. If zve have nothing more
than this to say, no tale to tell save that we once
were rich, then shall we leave nothing behind us
which will endure. Those who follow us zvill for-
get us.

1 " Artistically our civilization zvill have failed.
For my part, however, I believe that we have much
else to say, and that the hour when you shall say it
is at hand.

' ' We have only to look back into the mirror.
Turn for an instant to Rome. The Romans, too,
were rich and ostentatious ; but what man of feel-
ing has ever cared for the vulgar veneering of the
baths of Caracalla or the tiers of bastard Greek
pilasters, one above another, against art, the
brick core of an amphitheatre? Posterity has

ARCHITECTURAL ANNUAL

recognized the coarse and sordid side of the
Roman plutocrat, but happily in Rome there
was something beside plutocracy. What ex-
torted the admiration of our ancestors, and what
extorts our own, is the sweep of the aqueduct
striding across the Campagna, or the highway
on which the legions marched, pointing straight
to its goal, as inexorably as destiny. Whose
heart has not kindled with enthusiasm before
the arch which tells us of the nation's triumph
or the column to commemorate the glory of the
victor? These great works are as eloquent to us
to-day as to the men who reared than , for they tell
of passions which cannot be vulgarized, and they
speak a language which shall never die.

"I ask you, American aiiists, have we no na-
tional life which fires your imagination and stirs
your blood f I tell you this continent is quivering
with an energy beside which the energy of Rome is
as the shock of the galley to that of the battleship.
I feel it about me on every hand ; our people arc
possessed with a premonition of their destiny.

" I was in Puerto Rico last February, and one
sultry morning, strolling upon the ramparts of
San Juan, I fell upon a regiment of regular in-
fantry at drill. I suppose three quarters of that
regiment were volunteers of a few months' ser-
vice ; they did not look like any troops I ever
saw ; they were rough fellows in blue shirts and
slouch hats, and they did not line up as regularly
as I have seen men do in Germany and England.
But I watched them finish their parade, and as

they marched off the ground I knew that in all
my life I had never felt such power.

"Only the other day I travelled from Pitts-
burgh to New York, and from New York to
Albany, and in this whole round globe there is
no sight which can compare. That great artery
through -which throbs the life-blood of this nation is
to -what has existed elsewhere as the Hudson is to
the Thames. We must accept the world as we find
it. Probably mankind has lost the passionate devo-
tion which created Chartres and Bourges ; that
magic instinct for form -which was the heritage of the
Greek has died, but one great emotion still remains
to us ; ive have a country , and we have the sense of
power which made the dignity and majesty of Rome.
That is the emotion which is destined, if we survive
and flourish, to be the dominant instinct of our land.
That emotion shall, I trust, become incarnate
through you.

" Gentlemen, it lies with you to give this passion ,
which I believe to be one of the noblest -which can in-
flame the human mind, befitting expression ; it lies
with you to clothe the aspirations of your generation
in color, in marble and in bronze ; it is for you to
conceive and execute memorials which shall com-
memorate our empire. And I, for one, believe in you,
as I believe in our race, our soldiers and our destiny,
and I believe that when the hour of our decay shall
come you -will have raised to the honor and glory of
your country monuments as eloquent and as strong
as those which still make live before us the triumphs
on the Tiber. ' '

EXTRACT FROM THE DETROIT AR-
CHITECTURAL CLUB CATALOGUE, 1900

FRANCIS S. SWALES, EDITOR

1 HE principal object for which the Detroit
Architectural Club exists is the advance-
ment of architecture and the allied arts.
" For the improvement of its members, meet-
ings are held regularly, at which lectures are
delivered, matters of interest are discussed and
classes are conducted. We realize, however, that
no great advancement can be made, and that the

motto, " progress before precedent," adopted by
the Architectural League of America — of which
the Detroit Architectural Club is a chapter — can-
not be upheld without the intelligent apprecia-
tion of the public. In presenting to the people
of Detroit this and future exhibitions, we are
making an effort to bring before them the best
work being produced, both in the United States
and Europe, to the end that interested laymen
may note the progress of architecture and archi-
tects, and by giving to capable men their dis-
criminating encouragement afford them one of the
artists' greatest rewards."

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ARCHITECTURAL ANNUAL

THE ARCHITECTURAL SCHOOL FROM THE
ARCHITECT'S STANDPOINT

BY GEORGE R. DEAN

Delivered at the banquet tendered by the Cleveland Architectural Club to the visiting delegates to the first convention of the Architec-
tural League of America.

THE practice of architecture resolves itself
into the proper handling of any problem in
building.

The ideal architect is a poet, a dreamer of
dreams, a builder of air castles, with the technical
ability to reproduce those visions in lasting
material.

He is able to see his building completed; he sees
the plan, the arrangement of part to part, the
suitability to purpose, the simplicity of cause and
effect. He sees the component parts of materials,
he paints the walls in colors, he carves the caps oj
columns, he models cornices, he stains the glass in
the windows, forms, colors ; shadows and highlights
come and go. He rejects, adopts, invents, a?id
brings forth a unit, a whole, a harmony.

It is his right, given, in the same degree, to no
other artist, to show what he has discovered of
beauty in the forms of nature. The entire earth is
before him ; its animal, vegetable and mineral
kingdoms abound informs of surpassing loveliness.

The trained mind is able to see deeper into
the character of these forms, to search out the
dominant quality, to separate the dross from the
metal and put before the toiler in other fields the
product of his toil.

No other art has such possibilities ; it is abso-
lutely limitless. There is space on a single building
for the study of a lifetime. It would be to the evet-
lasting glory of an architect to reduce one form to
the perfection attained by the Egyptian who con-
ceived the lion, or the Greek who modelled the palm.

Do we pay the painter to slavishly copy for us
the works of Michael Angelo ? No, we dema?id
that he go forth and search and toil and show us
something which he alone has seen ; to trace for us
one thread in the inti icate mesh of nature. This,
then, is the goal of the student.

It is generally conceded that the architectural
school does not and cannot produce the practising
architect ; that the business, and to a great extent
the technical side, must be learned through a
certain experience. This experience the student
acquires during that period wherein he is a
draughtsman. Since the draughtsman is the
only step between the school and the architect,
the student should be a draughtsman at the time
he leaves the school.

It is by the draughtsman, the product of the
school, that the architect judges of the school.

It is the province of the draughtsman to assist
the architect in the assembling of his construc-
tion, to work out its minor details, to play the
part of the actor, to put himself in the place of
tbe architect and carry out generalities. He
must be so constructed that he is able to see
something of the whole, to grasp something of
the situation, to catch the keynote and never
cause a discord. It is the province of the school
to so construct him.

It is the privilege of the architect to nourish
and train him, to broaden his experience, to show
him the refinements and the technicalities, to
teach him to grasp the simple whole.

The first truth that the school should instil
in the mind of the student is the necessity to see
in the solid; he must ever deal in the third dimen-
sion, not only in its beginning and end out
throughout its entire length, to feel the mass ; he
must see further into the building than the color
on the surface of the Whatman paper ; the 450
wash is not to show him the depth of the angle
or the projection of the cornice ; it is his method
of expressing his thoughts to others. This
brings us to another great object of the school —
draughtsmanship. Since the architect does not
himself reduce his vision to earthly materials, he
must have a language. It must be a language
clear and concise, yet capable of most varied ex-
pression. This language is for a purpose ; it is
the medium between the idea and the reality.
Any tricks practised, any play on words will lead
astray the intelligent artist, as well as the architect
himself.

Since he must begin to think from the solid,
so he must begin to draw from the solid ; since
his visions are to be ideal, be must draw from
ideal subjects.

His architecture is to have continuity to ex-
press growth, refinement and nobility. Subjects
expressing these characteristics should ever be
put before him.

Nowhere can he find examples so good as
those in nature. The architect who has learned
how well nature knits together the various por-
tions of her creations, how a certain character, a
feeling, takes possession of a plant from root to
blossom, how it carries itself throughout an
animal, how each mineral has its characteristic

ARCHITECTURAL ANNUAL

crystal, will never be able to produce the con-
glomerate so universally perpetrated.

The architect who truly knows the pine and
oak tree, who has studied and drawn them, who
has had the character and growth brought home,
is incapable of dreaming a dream of ugliness.

The architect who knows and loves the lily
and anemone, has been taught to draw iheir
essential qualities, is incapable of conceiving an
ornament of vulgar character.

During his school period, to still further
sharpen his sensibilities, to make him more
quick to detect discord, to know harmony, let
him study color, but let him get it from the true
source.

The architect who knows the woods and fields
will be incapable of sky pink and baby blue
sentimentalities, as well as the quivering horrors
daily thrust upon us.

The question of materials should obtain its
share of attention. The student should have a
consciousness of the different textures, as well as
the bodily construction of material, that the treat-
ment should vary with the material, that ivood
should not appear to be moulded, that iron should

not appear to be carved; that the methods of con-
struction vary zvith materials, and the principles
governing this construction should be put before him.
We, the architects of to-day, were not so trained.

Whatever of this we possess we have fought for,
scrambling back over text-books of dogmas and
ruins of Gothic, Roman and Gi'eek architecture.

We went into offices with magnificent ideas of these
in. our minds. Some of us have had the oppor-
tunity to construct them to the utter damnation of
the art and the agony of the public. For the sake
of that thing which lives forever let us give the
student of the next generation a school which will
start him in accord with nature, for zvith her he
will have to deal.

I believe that the study of the various styles of
architecture with the intention of using them in
practice is pivductive of conglomeration and lack of
continuity. I believe that the study of one style of
architecture with the intention of using it in prac-
tice is productive of absolute death. I believe that
the study of the vital styles of architecture with the
idea of finding wherein they met the reqtiircments
of their periods and the processes of their perfection,
productive of mental development and general in-
telligence. (Applause.)

RICHARD MORRIS HUNT

(1828-1895)

THREE men who bear the name of Hunt
must be placed on the list of those who
reached the highest ideals of Art in the
Nineteenth Century. William Holman Hunt
led that school of idealizing painters called Pre-
Raphaelites ; William Morris Hunt was a noted
American artist, a pupil of Contune and Millet ;
and Richard Morris Hunt, brother of the Ameri-
can artist, was one of the greatest architects that
the United States has ever produced. It would
be an idle and fruitless discussion that would seek
to determine the relative value of these three
lives, but we must not overlook the fact that, al-
though the painter's canvas may rest on the walls
of mansions and art galleries, perpetuating his
name for many years, the work of Richard Morris
Hunt must outlive them all and speak to an ever-
increasing audience in each generation that is to
come.

The mere recital of his life events will de-
monstrate what volumes of well-deserved praise

would but feebly give. He was born in Brattle-
borough, Vt., October 31, 1828, of Jonathan
Hunt, M.C., and upon his father's death was
sent to school in Boston. Graduating from the
Boston High School in 1843, ^e went to Switzer-
land in 1844, and entered the atelier of Samuel
Darier, at Geneva, in the following year. In the
same year he became a pupil of Hector Lefuel, at
Paris, and in 1846 was admitted to the Ecole des
Beaux- Arts. Here his studies lasted ten years,
during which time he travelled in Europe, Asia
Minor and Egypt. In 1854 Lefuel was given
charge of the new work on the Louvre. Under his
direction, Hunt, as Inspecteur des Travaux, de-
signed the Pavilion de la Bibliotheque, opposite
the Palais Royal. He returned to America in
1855 and opened an atelier on the plan of the
French architectural ones. After that he was
engaged in the extension of the Capitol at Wash-
ington and settled down to an independent pro-
fessional career in New York.

ARCHITECTURAL ANNUAL

He was President of the American Institute
of Architects and of the New York Chapter. He
was made Honorary and Corresponding Member
of the Academie des Beaux-Arts, Institut de
France, in 1882; Chevalier de la Legion d'Honneur
in 1884 and Member of the Societe Centrale des
Architectes Francais in 1886. He was elected
Honorary and Corresponding Member of the
Royal Institute of British Architects in 1886, and of
the Ingenieur and Architecten Verein, of Vienna,
in 1887. Harvard conferred the honorary degree
of LL.D. upon him in 1892, being the first archi-
tect so honored. He became Academician of St.
Luke's, Rome, in the same year — the first Ameri-
can in that position ; was awarded the Gold Medal
of the Royal Institute of British Architects in
1893 ; and later in the same year was nominated
Associate Member of the Institute of France, of
which Franklin had been the only other Ameri-
can member. He served on juries of the Exposi-
tion Universelle, Paris, 1867 ; of the Centennial
Exposition, Philadelphia, 1876; and of the
Columbian Exposition, Chicago, 1893. After an
illness of two weeks he died at Newport, July 31,

1895-

As a man, Richard Morris Hunt was a pic-
turesque figure, stalwart for his height, with
something in his carriage and manner of speech
that made you suspect the military officer, rather
than the architect. His handsome head conveyed
an expression of stateliness at times, but in the
main Hunt was extraordinarily vivacious, almost

a Frenchman in some of his quick passages ot
talk, and the talk itself was explosive. Most
characteristic was his aggressive and forceful
enthusiasm. The bust that heads this article is
by Daniel C. French, and is taken from the
Central Park Monument erected in his memory
through private subscriptions of the arts societies
of New York City. He is the first architect in
the United States to be honored in such a manner.
To Richard Morris Hunt is also due the great
movement toward broader architectural training,
represented by nearly one hundred advanced
American students all the time in Paris, either
competing for admission to the Ecole des Beaux-
Arts or already in the school. Moreover, he was
the chief mover in the project of establishing the
Prix de Reconnaisance, or Prix Americaine, as
the Frenchmen term it, which is open to French
students alone and stands as a perpetual recogni-
tion of French liberality in admitting the entire
world to her school of art. And we must not
overlook the powerful influence that Hunt ex-
erted upon American architecture. Richardson's
power was that of a stylist, and therefore personal
and limited. Hunt's power is continual, for it
represented a principle. It was successful in
giving to American architecture that purpose,
design and attention to academic principles which
were entirely lacking before this New Englander
brought back to his native country the lessons
France had learned. His life and reputation will
live and even increase with time.

ARCHITECTURAL ANNUAL

THE MUNICIPAL BUILDING PROBLEM IN THE

CITY OF CLEVELAND

BY HERBERT B. BRIGGS
Chairman of the Current Work Committee of the Cleveland Architectural Club

THE municipal art idea, the germ that is to
regenerate the American city, has taken
root. Upon every hand the layman citizen
is beginning to traverse the route that the Ameri-
can architect, the artist, the sculptor and the land-
scape architect have long since trod, with the
feeling that it ouly led to the ideal, the Utopian,
and not to realization. As the citizen broadens
his view, the air-castles of the architect and his
confreres take tangible form. In these days of
intense commercialism and bitter competition, it
is a hopeful sign. It foreshadows a broadening
public mind, it appeals to the finer and truer sen-
sibilities of man, and it makes possible an object-
lesson education to the masses.

Cleveland, with her sister cities, east, west,
south and north, is awakening to her possibilities.
She is conservative. Her capitalists make invest-
ments carefully. Her progress, along many lines,
has been painfully slow. Her population shows
a healthy, steady increase. She went through
1893-4-5 and 6 without a bank failure, and com-
paratively few business failures. She was slowly
evolved from the town to the city . Her commer-
cial buildings have developed from the two-,
three- and four-story office building to the mod-
ern, fire-proof, sixteen story idea, whose vital
force is electricity. She has ever been a city of
homes, those of the detached house and spacious
lawn. Cleveland and Euclid Avenue, names in-
separable ! Her magnificent park and boulevard
system, started some six or seven years ago, and
yet incomplete, stand among the best of the coun-
try. Her natural location upon Lake Erie, added
to the fact that she is the largest city in the State,
makes her the commercial city of Ohio, and she
has already taken the initiatory steps toward
making herself the city of municipal art, of not
only Ohio, but the Middle West.

Such is Cleveland. Born from the hardy,
education-loving pioneer stock of the Connecticut
Western Reserve, she has grown a healthy
growth, and as she enters upon the second hun-
dred years of her life she feels the need of
better, larger, more convenient and more artistic
buildings in which to house and transact the
varied municipal, governmental, educational, art
and civic functions.

The conveniences of the century gone for this
work are inadequate to the demands of the city

and count}' governments, and in meeting these
demands it has been determined that the purely
utilitarian shall not predominate, but that the
artistic and aesthetic side will be given due con-
sideration, not alone for the buildings themselves,
but for their location and relation one to another.

The buildings now needed and for which pro-
vision has already been made, in one form or an-
other, are : a government building, city hall,
public library and a county court house and
jail. Other buildings which will eventually
enter into the problem are : the Case Library, an
auditorium and the Union Railway Station.

Two million five hundred thousand dollars
have been voted by Congress for the government
building, which will be located upon the site of
the present building, and that of the Case build-
ing, occupying the block bounded by the public
square, Superior, Wood and Rockwell Streets
upon the east side of the square.

A bond issue has been authorized by the
State Legislature and a Building Commission ap-
pointed to build a much-needed city hall. The
present building is a rented one. Politics pre-
vents immediate commencement of this structure.

The Public Library Board stands ready, with
the authority to issue bonds, to take the prelimi-
nary steps toward the new library building, but
is wisely waiting to group this building with the
others.

In 1898 a County Court House Commission
and a bond issue to meet the cost of the erection
of the court house were authorized by the Legis-
lature. Upon the appointment of the Commis-
sion it was declared to be unconstitutional. No
action has since been taken, but the great need
for better facilities in this department will com-
pel early action.

Case Library, a quasi-public institution, will
be driven from its present home when the Gov-
ernment begins its building. Its trustees are
broad-minded men, and want to make this library
a part of the grouping system.

Cleveland is without a large and convenient
public auditorium, and when this building is
erected it will, without doubt, be made one of
the features of this great municipal art idea.

The railroads centering in Cleveland have
for many years been considering the erection of a
modern Union Railway Station, and have inti-

ARCHITECTURAL ANNUAL

mated that they would be pleased to make this
building, if possible, a feature of the group.

An art museum will soon be built in Cleve-
land, but present plans, unfortunately, make
provision to locate this building by itself in Wade
Park, some four miles from the centre of the city.

From the foregoing, it is seen that Cleveland
has an opportunity. The necessity for the build-
ings is germinating the group idea and crystalliz-
ing public opinion for it.

In March, 1895, the Cleveland Architectural
Club held a competition upon the " Grouping of
Cleveland's Public Buildings," which was given
favorable newspaper comment, but accomplished
little in a public way. Little as was actually
accomplished at the time, the Club builded wiser
than it knew, for it had fortunately chosen as one
of the judges of the competition one of Cleve-
land's foremost citizens, the man who afterward
became a member of the Public Library Board,
in which position he has done much to bring the
Board to its present status upon the group ques-
tion, and who, in 1898, introduced a resolution in
the Cleveland Chamber of Commerce which
created the " Committee on Grouping Plan for
Public Buildings." He was intensely interested
in the competition at the time, and his interest in
the idea has never grown less.

In January, 1899, the Club held another
competition upon the same subject. When the
drawings were hung, a public meeting was held,
to which were invited the members of the various
boards and commissions. The drawings were
carefully explained, commending and criticising,
keeping to the idea in its abstract form and stimu-
lating the then small sentiment in its favor.
Addresses, in a favorable vein, were made by
several of the city's leading citizens. Following
this meeting the drawings were placed upon pub-
lic exhibition at Case Library, where hundreds
inspected them.

Throughout that winter the Club continued
the work of enlightening and educating the pub-
lic by talks given by its members, before men's
leagues and similar organizations, using the
competition drawings for illustration.

An address, by Mr. H. K. Bush-Brown, of
New York, at the time of the Convention of the
Architectural League of America in June, 1899,
was made a public one through the courtesy of
the Chamber of Commerce, and was listened to
by a representative and appreciative audience of
Cleveland's best citizens.

Later, in 1899, *Mr. John M. Carrere, of New
York, upon the invitation of the Chamber of
Commerce, delivered an illustrated lecture upon
the same subject, which served to increase the
sentiment favorable to the new movement.

January 2, 1899, the Cleveland Chamber of
Commerce created its Committee on "Grouping
Plans for Public Buildings," naming as members
of the committee five of the city's most public-
spirited men. The committee at once organized
and conferred with the commissions and boards
having in charge the erection of the public struc-
tures, finding that all were favorable to the
group idea. Encouraged by this, it formed a con-
sultive body, consisting of the committee and
representatives from the following boards : Board
of Education, Case Library Trustees, City Hall
Commission, Court House Commission, Library
Board and the Park Board.

Quoting from the report of the committee,
which was unanimously adopted by the Chamber,
December 19, 1899 :

"Many locations and plans have been sug-
gested, but it had been deemed wise to favor no
one of them, your committee's thought ever
being to first convince people of the desirability
of the idea, avoiding, if possible, the antagonism
of those who might be particularly favorable to
any specific site or plan."

The Public and Case Library Boards practi-
cally decided that they must begin the construc-
tion of their buildings, which decided the com-
mittee upon declaring for a particular site as
follows :

"The site suggested takes in the land
bounded on the west by Seneca Street, on the
east by Erie Street, on the south by Lake Street
and on the north by Summit Street or Lake View
Park. This block is now far from attractive, or
useful, or valuable, though situated in the heart
of the city and on the lake front. It adjoins one
of our public parks, which can thus be utilized,
without any additional expense for land, to form
the necessary environment or frame absolutely
needed to set off a noble building. It is flanked
on the east by the Government Hospital Grounds
and the Lakeside Hospital. On the west it could
be connected by a high-level driveway or boule-
vard with Water Street, thence to the viaduct
and the new boulevard to Edgewater Park ; thus
making it a link in our magnificent scheme of
parks and boulevards. It is on the lake front,
that distinguishing and attractive feature of our
city, the advantages of which have been sadly
and incomprehensibly neglected in the past.

" It will put our library, our city and county
buildings and possibly our public auditorium in
the very heart of the city, and on its most beau-
tiful and commanding site. Broad streets, 100
feet wide, running north and south, connect it
with the rest of the city. It will be convenient
to the new Union Railway Station, which will
doubtless be built in the near future in the fine

manner characteristic of modern passenger sta-
tions and which will also practically form a part
of this noble group.

' ' This site destroys no existing structures of
importance ; it does not take at great expense
any section of the city already well utilized ; but
instead, it makes an unsightly section beautiful
and transforms it into a notable monument of
usefulness and of art, and, most important of all,

it maintains practically the present business
centre.

"You will notice by the sketch that the lake
north of this site is filled in and converted into
a park or recreation ground, and is provided
with safe and commodious wharves for passen-
ger and excursion boats ; and that the water
basin is most suitable for bath-houses, skating
rinks and other purposes of public recreation.

ARCHITECTURAL ANNUAL

Consider the beautiful effect of this collection of
buildings crowning the brow of the lake front,
as they will appear from the lake, as boats leave
and enter the harbor, and from the public rec-
reation grounds of more than fifty acres, north
of the railroad tracks.

" An advantage of converting this land, at
present useless and of but small value, into a
quarter both useful, beautiful and valuable, is
that it will give an opportunity and a practical
reason to our street railway systems to run a
series of loops up and down the streets between
Brie and Seneca. Such arrangements will relieve
the present almost unbearable congestion on the
square and lower Superior Street, and will serve
to connect all parts of the city with these build-
ings and the recreation grounds adjoining ; also
with the steamer wharves and railway station
near by. The sketch shows that one of the
streets leading from the lake front to Superior
Street could be improved and used as a connect-
ing boulevard. This street may be any one of
the streets between Seneca and Erie, whichever
one the development of this plan may show to be
best adapted for the purpose.

" It may be argued that the smoke in this
quarter is objectionable ; your committee would
reply that, inasmuch as these public buildings
must necessarily be located as near the centre of
the city as possible, smoke and dirt to some ex-
tent are unavoidable, but that there is less of it
on the lake front than further to the south.
There will be practically no dirt and dust from
the streets, as the immediate surroundings will be
grass, flowers, shrubs and trees. The smoke
from the southern part of the city is unavoidable
anywhere, but from the north comes only from
locomotives, and before long they will burn
smokeless fuel within the city limits, as in other
large cities.

" This brings us to the question of the break
in our beautiful grounds north of the group,
caused by the railroad tracks. Your committee
is confident that the railroads will co-operate with
the city either in spanning the tracks by numer-
ous bridges of attractive design, or in covering
them altogether, as in Park Avenue, New York,
so that there would apparently be no break what-
ever in the grounds from the buildings to the
lake.

* * >fc % * %.

" If all this lake front land could be secured,
then the Library Board could well afford to de-

cide now to locate there, in the confidence that
public sentiment would insist upon the location
there of the other buildings in the same place,
and thus the group plan would be assured in
that locality. It is not necessary to wait until
all the commissions have their plans ready.
This land can be secured now, and that the
buildings will locate there is almost as certain
as the law of gravitation ; but even if they
should not, nothing will have been wasted, be-
cause the city will have secured a new pleasure
ground for the people where it is most needed.

•}» iji s£* 'J^ rfc *f+

"Your committee recommends that steps be
taken to secure all this land by appropriation or
purchase, as socn as possible, for park and public
building purposes, and that this work be placed
in charge of either an existing commission or
one for which provision shall be made during the
present session of the Legislature. This having
been done, the commission in charge of it can
then arrange with the several building commis-
sions and boards, as fast as they are ready to
negotiate, to sell to them such parts of this new
purchase as may be needed for each building,
the city thus receiving back a part, if not all, of
the money it has expended in its acquirement."

A bill is now pending in the State Legisla-
ture reorganizing the Park Board and giving it
authority to proceed along lines similar to the
ones above suggested.

None of the boards or commissions have
taken definite steps toward erecting the build-
ings, but are awaiting the outcome of the action
of the Legislature.

Cleveland's citizens are reasoning that there
is wisdom in making haste slowly in this great
undertaking which the present generation is
handing down to posterity.

They reason that there is a commercial value
in the artistic phase of the problem, that there is
economy in heating, lighting and operating the
buildings from a central plant; above all, they
are beginning to see that there is an educational,
an uplifting and ennobling side that demands
recognition, and they begin to realize that Cleve-
land must group her buildings to keep abreast of
the onward march of improvement and civiliza-
tion.

Cleveland has within her grasp the oppor-
tunity to make herself one of the foremost cities
of the United States in a municipal art way.
She may be counted upon not to pass it by.

Cleveland, April 6, 1900.

ARCHITECTURAL ANNUAL

THE BALTIMORE CONFERENCE ON
MUNICIPAL ART

BY GEORGE KRIEHN

Mr. Kriehn was graduated from William Jewell College in 1887 with the degree of A.H., spent five years in thcj stud}' of histoi \ and
history of art in Europe, received the degree of Ph.D. from the University of Straslmrg, and from 1S92 to 1S94 was instructor of history in
Johns Hopkins University, and after that for four years assistant professor of history and the history of art in Stanford University. At
present is engaged in original research and in lecturing upon municipal art.

THE Baltimore conference marks an epoch in
the history of municipal art in America.
On December 13-14, prominent authorities
on this subject were invited by the Municipal Art
Society of Baltimore to enjoy the hospitality of
their city and take part in a conference there.
The meeting resulted not only in a valuable
interchange of opinion on the part of the delegates
and the Baltimore Society, but in arousing great
enthusiasm for the City Beautiful among the citi-
zens of Baltimore.

The first session of the conference was a pub-
lic meeting held on the 13th of December in
McCoy Hall, of the Johns Hopkins University.
President Gilman, of the University, and also
of the society, opened the. session with an
appropriate address. He gave a concise his-
tory of the society, announcing its plans and
work for the future, and called attention to Balti-
more's needs of artistic adornment. The remain-
ing program of the evening consisted of two illus-
trated lectures by Messrs. E. H. Blashfield, of
New York, and George Kriehn, of Chicago. The
former is a prominent mural painter, and in his
lecture particularly emphasized this phase of
municipal art, warning against the popular clamor
for exclusive use of American historical sub-
jects in the decoration of public buildings. He
spoke of the achievements of Greece, Rome, Italy
and France, emphasizing the need of national
monuments in America, and pointed out the com-
mercial value of municipal art through the num-
ber of tourists and travellers attracted.

In his lecture on "The City Beautiful," Mr.
Kriehn, with the aid of the stereopticon, showed
the inartistic state of the American municipality,
and what improvements the introduction of
municipal art would entail. He exhibited streets
disfigured by hideous signs and bill-boards, claim-
ing that these might as well be artistic. He advo-
cated the enforcement of smoke ordinances, and
the judicious use of color to relieve the dull
monotony of business streets. Referring to pub-
lic places, he urged their decoration with trees,
fountains and statues, and that the public build-
ings should be massed together around such cen-
tres of traffic. Public buildings, he claimed,

should be the grandest and most beautiful in the
community, worthily decorated with painting and
sculpture. " Nothing is too good for the people
when it builds."

The second part of the lecture demonstrated
that the City Beautiful was a good financial in-
vestment. It is a perpetual exposition, drawing
visitors to the city, and attracts a desirable class
of residents. Beautiful streets increase the value
of real estate. The educational value of public
monuments, not only in the beautiful, but also as
a school of patriotism, is incalculable.

In the afternoon of the following day, Decem-
ber 14th, a conference, attended by all the invited
guests and by an appreciative audience, was held
in McCoy Hall. The subjects discussed were the
treatment of parks, boulevards, open spaces and
suburban improvements, and the interior decora-
tion of public buildings. Among the speakers
were Sylvester Baxter, of Boston; Charles DeKay,
F. S. Lamb and C. Y. Turner, of New York ; J.
K. Taylor, of Washington ; Elihu Vedder, of
Rome ; Albert Kelsey and Joseph M. Wilson, of
Philadelphia. The addresses, though brief, were
very instructive and aroused much enthusiasm,
notably those of Messrs. L,amb and Kelsey. After
the conference there was a charming reception to
the delegates at the home of President Gilman,
and in the evening, a banquet at the Maryland
Club. At this function it was the privilege of the
guests to meet a number of the most influential
citizens of Baltimore, men whose advocacy of the
cause of municipal art will not fail to achieve im-
portant results.

A description of the conference would be in-
complete without a few words in regard to the
Baltimore Society.

Though not yet a year old, it numbers over

600 members and has raised above $7,000.

Besides instituting this conference and other

active work, it has offered $5,000 to the city

for the mural decoration of a room in the new

$3,000,000 court-house, provided the city vote

$10,000 additional. It is to be hoped that other

cities will emulate the example of Baltimore,

and that such conferences on municipal art will
t

be a matter of frequent occurrence.

ARCHITECTURAL ANNUAL

OBLIGATION OF ARCHITECTS TO CITY BEAUTY

BY CHARLES MULFORD ROBINSON

Mr. Robinson was graduated from Rochester University in 1891 with the degree of B.A. Editorial writer on the Rochester Post
Express, and regular contributor to various publications. Travelled in Europe in 1891, 1894 and 1899. Contributed a series of articles on
"Improvement in City Life " to Atlantic Monthly, 1899. Sent abroad by Harper's Magazine in 1899 to make study of Municipal Art in
Europe. Member of the National Committee on Municipal Improvements and Civic Embellishment of the Architectural Eeague of
America.

THE custom of the Architectural League of
New York City to discuss at its monthly
dinners, in recent years, some phase of the
city's development — now the water front, now the
street plan, and now the ideal approaches for new
bridges — is one to be commended. Though it
should happen that no one of the suggestions
made in the course of these talks ever have ful-
filment, yet the questions that they raise set men
to thinking. An effort is made to limit the propo-
sitions to the practical ; but were they artists'
dreams, they would still — if not beyond hope —
have value. For they would set up a new stand-
ard. They would offer to the man engaged in
other professions, or in business, a new, tangible
and pertinent civic ideal. He would begin to
compare the city of to-day not with that of ten
years ago, to wonder at its progress and be satis-
fied, but with the city that might be, with the
city that may be ten, or twenty, or thirty years
hence. And so aspiration, desire, endeavor,
would take the place of satisfaction ; and little by
little the city would march surely toward that
aesthetic ideal.

Yet the main triumph is not there. It is in
the reaction upon the architects themselves, in
the publicly-avowed recognition of their obligation
to the city at large, in the perception that the
architect best serves himself who serves best the
community ; for in the narrowest field his first
duty is not to his employer, but to the street upon
which the building is to stand. In his own con-
science there should be a moral code defining
professional conduct quite as stringently as any
of the rules that abroad demand regard for the
" raccordement et Vharmonie des lignes de con-
struction."

The perfect opportunity of the architect will
not come until men dream of, and work earnestly
and rationally for, cities beautiful. It is for him
to suggest that dream. He can do it in formal
discussions that will have popular interest, be-
cause they deal with conditions visible, concrete
and familiar ; and he can do it by substituting in
his own heart the principles of cooperation, the
realization of the duty of harmony over the too
common notion of individual rivalry. With
thought of his high office, let him scorn to be
subject to the whims of tasteless and egotistic
wealth. Let him lead, direct ; let him mould
personal ambitions into the shape that will do
most to raise the architectural standards of the
town, not fearing to say to Croesus, " You shall
build better than you know, for your ideal, which
is personal, shall give way to one that is com-
munal, typical of a harmony which shall last
when individualism falls. You shall build not
for a generation, but for an epoch ; and not the
untried notions of one man, but the Zeitgeist,
shall go into your walls."

So in one more case the individual ideal will
be supplanted by a civic ideal, the true secret of
city beauty imparted. But the architect must
have first in his own heart appreciation that he
has a higher function than to " get ahead " of a
rival ; that conscientiousness, not docility, is the
secret of success. If the members of architectural
societies everywhere would meet for the discus-
sion of the aesthetic possibilities of their own
communities, they would do much to substitute
in themselves this broad for the narrow view,
and popularly to educate to appreciation of, and
wish for, cities beautiful. To do that is the archi-
tect's duty, and upon success in it rests his hope.

ARCHITECTURAL ANNUAL

BARON HAUSSMANN

BY VM. P. CRESSON

Editor's Note. — A short biographical notice of Baron Haussmanu is particularly timely. It is the first of a series on the transfoi
illation of Paris dining the reign of Napoleon III. As many American municipalities are to-day grappling with the same problems— new
streets and boulevards, parks and water supply— the example of the French capital is of great interest. Mr. Cresson, during a long stay
in Paris, has made a careful study of the subject.

PARIS is once more to become a centre of
pilgrimage for the whole world. For
twenty years at least she has been able to
claim the proud title of "The Greatest Modern
City," and from everywhere travellers have come
to learn from her broad streets and parks the les-
sons and possibilities of municipal art. That
this is so is due principally to the genius of two
men — an Emperor who, whatever his other faults
may have been, did not lack the courage for an
Augustinian plan, and a man whose rare mind
combined the qualities of administrator and artist
necessary for its realization.

Louis Napoleon and Georges Haussmann first
met at Bordeaux, during the famous voyage of the
Prince- President that ended in the proclamation
of the Second Empire. As prefect he had already
executed some important public works in differ-
ent parts of France, and his plans and theories
favorably impressed the future emperor. One
year later, from the Tuileries, he summoned
Haussmann to Paris, where, as Prefect of the
Seine, he became governor and administrator of
the capital Napoleon III proposed to transform
and embellish as the first and most lasting act of
his reign.

In the tenth century Philip II, by opening
new ways and by paving and lighting the prin-
cipal streets, had tried to direct the growth of
the medieval city. Later, Henry IV, by gener-
ous concessions, attempted to build up a new
quarter, whose architecture should harmonize in
one general effect, and the Place des Vosges and
its neighboring streets exist almost unchanged
to-day, a monument to his enlightened policy.
To Louis XV Paris owes the broad promenade
of the Champs Elysee and the stately Place
Vendome near by.

But the Paris of 1853 was a different city
from that of the year 1900. Many of its noblest
monuments rose from among encroaching houses,
masses of sordid masonry that tolerance and cus-
tom had left in poverty and decay. Many build-
ings were still of medieval wood and plaster. A
labyrinth of crooked streets, through which the
growing traffic slowly forced its way, were often
the only means of communication from one popu-
lous quarter to another. Though fairly correct
plans of some parts of the city existed, many of

the poorer regions were unrecorded on the official
maps.

The first step towards their improvement
was, therefore, an accurate set of plans and levels
of the whole city, which, by the Emperor's
orders, was carefully made for the first time.

Already, under the regime of the Republic,
some strictly necessary improvements had been
made. One short boulevard to accommodate the
traffic caused by the new railway stations was
laid out and opened by a private company, with
government aid. Some of the streets in the
neighborhood of the Louvre had also been broad-
ened and extended and others proposed. But
the plan submitted by Baron Haussmann to the
Emperor was so thorough and gigantic in con-
ception that the first system became insignifi-
cant beside it.

In principle it comprised two great avenues,
cutting each other at right angles in the direc-
tions of the most important traffic, that is to say,
parallel and at right angles to the Seine. These
imperial ways (Rue de Rivoli and Brd. Sebasto-
pol) passed in parts through the darkest slums
of Paris, letting in light and air, and razing
from the map whole quarters of crime and
anarchy. A third avenue (Brd. St. Germain),
following in general the line of existing streets,
joined the first two with the old aristocratic
quarter of St. Germain. A second system, radi-
ating from a square, easily connected with the
first, opened up the great quarters to the east,
inhabited by the middle and laboring classes.
In this way two great results were accomplished:

(1) The congested districts were freed and
opened to traffic.

(2) The poor and laboring classes were
driven from the unhealthy, demolished parts of
the city to seek homes in the suburban quar-
ters, where light and air were not unattainable
luxuries.

Such a scheme could not but excite a storm
of opposition as well as of approval. The excited
population and those whose property and rents
were affected by the great changes in value caused
by the new streets resisted violently what they
considered an arbitrary measure. The Emperor
was accused of having but one end in view, to
secure for his troops a way through the very cen-

ARCHITECTURAL ANNUAL

tresof revolution and barricades. Haussmannwas
treated as an unscrupulous speculator, trying to
enrich himself and his associates at the expense
of established interests. A still more difficult
obstacle was the question of finances. The City
of Paris, with a yearly budget of fifty million
francs, was to be called upon to increase it to
many milliards ! Haussmann was then the first
to point out a fact which has to-day been entirely
proved, that such improvements in a compara-
tively short time should pay for themselves by
the increase in taxes and the added value of prop-
erty.

Five years later the whole plan, as outlined
above, had been carried out in every detail. In
many cases, to encourage the proprietors on either
side of the new ways to build handsomely, and in
harmony with a general design, twenty years of
taxes were remitted. Everywhere, regulations
concerning the height and projection of the new
edifices were strictly enforced. While these new
streets may lack something of the picturesqueness
of the old, it is worthy of remark how few monu-
ments of any real artistic or historic value were
destroyed.

The Emperor desired also to furnish his capi-
tal with a system of parks and squares so com-
plete that no quarter, however humble, should be
without its breathing space. Until this time the
citizens of Paris had been dependent on the gar-
dens surrounding the various palaces, the prom-
enades of the Champs Elysee and the old boule-
vards, whose double row of trees had been the
wonder of generations.

To accommodate the rapidly increasing popu-
lation of the workingman's quarter to the east,
the Bois de Vincennes, a large park, well wooded
and with several artificial lakes, was laid out. On
the other side of the city the famous Bois de Bou-
logne, a royal chase, surrounded by a stone wall,
was transformed by broad walks and promenades.
To-day, even after the loss of its finest trees dur-
ing the siege, with its public clubs, race-courses,
lakes and drives, it is perhaps the finest public
playground in the world. Beside these two
principal suburban parks, three others of some

size were created within the city proper, while
all the old open squares and market-places were
planted with shade trees.

Near the gates of the new Bois de Boulogne,
on a low hill overlooking the older portions of the
town, stands the huge triumphal arch erected by
Napoleon I. From the central space surrounding
this Haussmann laid out new avenues radiating
to the four quarters of the compass. Here, on lots
once given over to suburban cabbage fields, has
grown up the new quartier of the Champs Elysee,
now the finest and most aristocratic of Paris. It
is here, unhampered by previous constructions,
that he foresaw the rows of tall apartment houses
and private residences that now line its broad, airy
streets. Situated on high ground, drained with
all the skill that modern sanitary science com-
mands, few residential quarters can compare with
it. Here, as elsewhere, one must remember that
it was Haussmann who planned the greater part
of that second invisible city, Paris below ground,
the great system of sewers that carries its drainage
to the Seine, some miles away.

In so short an article it is impossible to more
than catalogue Haussmann's works. Every de-
partment of the municipal economy of Paris is
indebted to him. The water supply, the greater
part of which had been drawn from the polluted
Seine, was during his administration entirely re-
organized and taken from pure and lasting
sources. The gas, and lighting of the streets,
the pavements, the burial of the dead, and the
public slaughter houses, were each in turn the
subject of his profound study and intelligent
reform.

His Memoirs, containing the results of his
researches, must remain the subject of a future
volume. While others reaped the fruits of his
wisdom, the man through whose hands the mil-
liards of francs expended had passed ended his
days the hard-working director of a financial
company. What more eloquent reply could he
have found to those who for so long had slan-
dered his acts and the liberal policy that governed
them ?

Paris, November 30, 1899.

."-*.

ARCHITECTURAL ANNUAL

THE NATIONAL COMMITTEE ON MUNICIPAL

IMPROVEMENTS AND CIVIC

EMBELLISHMENT

OF THE

ARCHITECTURAL LEAGUE OF AMERICA

IT is a satisfaction to announce the appointment
and acceptance of Mr. Cass Gilbert, of New
York and St. Paul, to the chairmanship of
the Committee on Civic Improvements.

As every one knows, Mr. Gilbert is a very
able and successful architect, and, by special
studies, is well qualified to develop to great effi-
ciency this department of work which this new
organization has undertaken.

The Architectural League of New York has
already accomplished something in this field for
the city of New York, and their success has been
the inspiration which has brought about this
committee.

The field is so new and so comparatively
untouched that it seems desirable to outline in a
few words what the purpose is, and how inti-
mately their work may be associated with the
municipal life of all our cities.

It is not open to argument that the sur-
roundings of our daily lives should be clean, tidy
and attractive. This is universally accepted as a
truism so far as the individual lot owners are con-
cerned, and they take a pride in well-kept door-
yards, trim houses, and, when attainable, fine
architecture. This same principle has been ap-
plied by city authorities to the larger opportu-
nities offered for its application to city lots in
the aggregate or the general appearance of the
municipality.

Without wishing to depreciate the good
things that have been accomplished for many
of our American cities, it yet remains a fact that,
not infrequently, the best of opportunities have
been neglected or only partly developed.

Unfortunately it has been considered as only
an engineering or surveyors' problem, instead of
an artistic one, which it really is, and we are glad
to note this is the artists' entrance into this field,
which is essentially their own.

We have reason to expect great things of
them, for the general treatment and setting of the
World's Fair at Chicago was a demonstration of

what they could do. This demonstration has
appealed to the understanding and imagination
of the people of the United States, and from
many cities and towns come evidences that their
citizens are aware of the intrinsic value of the
artistic appearance of our civic homes ; that
these things, which involve the planning of cities
and laying out of streets and parks, the placing
of public buildings and monuments, are just as
important as good sewers, pavements, police and
light.

The results aimed at by this committee are to
be obtained by their giving advice to munici-
palities or corporations without charge or fee,
travelling expenses, of course, excepted.

The committee is made up of architects,
sculptors, mural painters, writers on these sub-
jects, etc. ; and they are residents of various
cities from New York to New Orleans.

The method of procedure is this : A muni-
cipality or corporation in need of advice may
appeal to the President of the League, 931 Chest-
nut Street, Philadelphia, Pa. ; the member of the
General Committee who is nearest to the locality
applying he appoints as chairman of the special
committee to visit that city, and with him he
associates some artists near by who have made a
study of these problems.

After one or more visits to the place they
write a report to the authorities who invited
them, a copy of which is sent to the President of
the League for future reference

As this kind of artistic advice has been
sought for and obtained before this committee
was appointed, it is reasonable to suppose that
this new machinery which the Architectural
League of America now offers to the public will
be put in active operation at once, for every city
and town is interested in making the most of its
natural artistic resources.

H. K. Bush-Brown.
107 East Twenty-seventh Street,
New York.

Mrs. Phoebe A. Hearst

THE INTERNATIONAL COMPETITION FOR THE
PHCEBE A. HEARST PLAN FOR THE
UNIVERSITY OF CALIFORNIA

THE trustees of the Phoebe A. Hearst Ar-
chitectural Competition for the University
of California have issued a volume that
contains, beside excellent reproductions of all
the second competition drawings, the eleven sets
of preliminary plans that were awarded prizes at
Antwerp, thus entitling their authors to enter
the final competition. The letter-press, printed
in four languages, gives a historical account of
this great concours, together with numerous re-
ports of much interest.

The League, through the kindness of these
gentlemen, is enabled to use much of the infor-
mation and illustration contained in this article,
and is equally indebted to them for a series of
enlarged photographs used by the League in its
travelling exhibits. The same spirit of liberality
has characterized the attitude of the competition
judges, Mr. Belcher and M. Pascal, both having
kindly sent the letters printed herewith.

The University, started in 1853 as a con-
gregational school and soon abandoned, was

ARCHITECTURAL ANNUAL

revived under an Act of Congress in 1862, and
in 1868 was chartered and received an endow-
ment from the State as an unsectarian institu-
tion. "It began building, as most American
colleges have begun and nearly all have con-
tinued, without device or knowledge or wisdom.
That is to say, every architect employed has
built what seemed to him good, without refer-
ence to the works of his predecessors or his
contemporaries or his successors." At the same
time, the growth of the University has been
phenomenal. At present it has enrolled over
2,500 students, and the architectural plans are in
anticipation of a student body of 5,000.

A young professor at the University first
conceived the idea of making the buildings of
one character, and Mrs. Phoebe A. Hearst, widow
of the late Senator George R. Hearst, became the
benefactress of the plan by offering to pay the
cost of a competition and to erect two buildings
of the accepted design, one being a memorial to
her husband.

Accordingly the following program was dis-
tributed throughout architectural offices of Eu-
rope, America, and even Japan :

" I. — (1) The administration building or build-
ings. This group is to comprise the entrance to
the university, janitor's lodge, etc., and will con-
tain the necessary ball and reception rooms and
offices for the regents, faculties and executive
offices.

"(2) The library. This building should have
a capacity of 750,000 volumes, and should be
built with all the accommodations of a modern
building.

"(3) A museum. Provision should be made
in this division for departments of art, antiquities,
ethnology, etc.

"(4) and (5) Two auditoriums, one of a
capacity of 5,000 people, and the other of a
capacity of 1,500. Each should be adapted to
lecture, concert, or theatre purposes. A garden
for open-air celebrations is also included within
this group.

"(6) Lecture rooms, armory and covered courts
for drill in rainy weather are required by the
military department.

"(7) The gymnasia also constitute an import-
ant division and are to provide separate depart-
ments, both for gymnastics and swimming, for
male and female students. Besides these depart-
ments there will be printing and publishing
establishments, an infirmary, dormitories, and
club houses for professors and students.

"II. Buildings for all things pertaining to the
general service of the several departments, such
as central power, heat and light stations and
postal, telephone and telegraph systems.

"III. The departments of instruction so far
contemplated number fifteen, and the buildings
for their accommodation differ much as to their
relative size and importance. These departments
are as follows :

"(a) Higher historical and literary instruction,
with departments of philosophy, pedagogy, juris-
prudence, historical and political science, and
ancient and modern languages.

"(£) Higher scientific instruction, with depart-
ments of mathematics, physics, astronomy, chem-
istry and natural history (zoology, botany,
geology, mineralogy).

"(c) Technical and applied instruction, with
departments of fine arts, agriculture, mechanical
engineering, civil engineering, mining, draught-
ing and graphical analysis.

"All are to be so connected as to ensure easy
communication, both open and covered, between
the groups of buildings and to contribute to the
stately aspect of the whole."

A first and open competition was to be judged
by an international jury of the highest class, dis-
tributing not less than $15,000 in prizes ; and at
least ten plans were to be retained, the authors of
which were invited to enter the second compe-
tition, in which $20,000 should be distributed in
prizes to not fewer than five plans, giving not less
than $8,000 to the best plan.

The judges named were Mr. Norman Shaw,
of England, for whom Mr. Belcher was afterwards
substituted ; M. Jean Louis Pascal, of France,
member of the Upper Council of the School of
Fine Arts ; Herr Wallot, of Germany, the archi-
tect of the new legislative palace at Berlin ; Mr.
Walter Cook, of New York, of the firm of Babb,
Cook & Willard, and Mr. J. B. Reinstein, of San
Francisco, a graduate of the University and mem-
ber of its board of regents.

The first or open competition was decided at
Antwerp in July, 1898, and attracted ninety-eight
competitors. The number was reduced to eleven
prize-winners — six Americans, three Frenchmen,
one Dutchman and one Swiss. These competitors
had six months in which to prepare their designs
for the second competition. This was decided at
San Francisco, and the design of M. Benard was
unanimously chosen as the best. The author re-
ceived a prize of $10,000. The other four prize-
winners, in their order, are : Howells, Stokes &
Hornbostel, of New York, $4,000 ; Despradelles
& Codman, of Boston, $3,000 ; Howard & Cauld-
well, of New York, $2,000 ; Lord, Hewlett &
Hull, of New York, $1,000.

In arriving at their decision of the respective

position and merit of the several designs, the jury

considered the following as of special importance :

(1) That the buildings should generally rep-

ARCHITECTURAL ANNUAL

resent a university rather than a mere architec-
tural composition.

(2) That there should be a convenient group-
ing of the educational sections without undue
crowding or prevention of possible future exten-
sion.

(3) That the purpose of the several depart-
ments should be clearly defined in the design.

(4) That the architectural forms should be
adapted to the configuration of the grounds and
preservation of their natural beauties.

Monsieur Edward Benard, who won the first
prize, is a native of Goderville, France, being
born there in the year 1844. He 1S a member of
the jury of the Ecole dcs Beaux- Arts. He won

From P Illustration.

M. Edward Benard.

the Grand Prix de Rome on August 10, 1867, de-
signed the Tribune of Commerce at Fecamp and
restored the Chateau de Sasselot and the churches
of Bleville and Mare-aux-Clercs. He also deco-
rated the Casino de Nice and the Franco-Ameri-
can Club, of Paris. Just before his departure for
America M. Benard was tendered a reception, at
which time he was presented with the cross of
the Legion of Honor, in the name of the Presi-
dent and the Republic. His brother architects
gathered and wished him godspeed on his
journey.

If Monsieur Benard is chosen to execute any
of his buildings according to his general scheme

it will not be the first acquaintance Americans
will have with his work.

M. Benard, in his capacity of winner of the
Prix de Rome of 1887, produced the projet which
was executed at the World's Fair in Chicago, in
1893, f°r the Art Building, the most admired of
the many buildings on the grounds.

Of a right, the universities, of all other
places, should be the home of correct, impressive
and meaning architecture. Those who throng
there are in a formative stage of their lives. If
the buildings around them are the expression of
present conditions and higher ideals, the lives of
the students will be stronger, and the graduate's
love for his Alma Mate} will be based upon some-
thing more substantial than the ivy of the college
walls. Tuscany brickwork, no matter how
quaint ; the collegiate architecture of old England,
no matter how homelike and hospitable ; Gothic
spires, no matter how impressive, are not within
the demands or requirements of an American
university. A competition such as the present
one should awaken the college world to such
errors.

The closing months of the year 1899 saw the
success of this philanthropic movement, whose
influence will extend far into the centuries yet to
come. By such a munificent gift, Mrs. Hearst
has placed herself beside the greatest philanthro-
pists of all ages. The patronage of art and letters
by the Medici family was from generation to
generation ; by her individual beneficences Mrs.
Hearst performs their work in one generation.
What Mrs. Hearst has done, a Carnegie or a
Rockefeller might do, and thus add to their many
wise benefactions a living symbol of " triumphal
democracy" in lasting stone.

A LETTER FROM J. L. PASCAL, MEM-
BRE DE L'INSTITUT

HAVING been connected with the American
architecture movement in its relation to
France from the beginning of my studies
to the time the lamented Hunt completed his
education in practice and theory in Paris ; having
followed with attention the interesting progress
of your joint and parallel efforts — on the one
hand, to continue the traditions of the Old World,
and, on the other, to find solutions for the new
problems of your social condition ; having helped
numerous students among those who crossed the
Atlantic to receive instructions from our Ecoles
des Beaux-Arts, by chance I found myself
selected to represent France on the jury of that in-
comparable competition, opened by Mrs. Hearst,
for the University at Berkeley.

The exceptionally rapid journey which

ARCHITECTURAL ANNUAL

brought us to San Francisco allowed us but a
hasty glimpse of some of your already historic
cities; of others, whose happy beginnings presage
a rapid growth, and of others which exist, so to
speak, as yet only in an embryonic state Every-
where I perceived a double movement, and was
forcibly impressed that there is no doubt that
you soon will be able to proceed without bor-
rowing from the systems of instruction organized
so laboriously and traditionally among us, that
your American architecture will
keep up with that of our old con-
tinent, which sends you cease-
lessly the overflow of its own
and of its acquired art. In the
first place, the time has passed
when contemporary civilizations
ignore even their nearest neigh-
bors. There are no materials,
no inventions, no new processes
of one country that are not im-
mediately known over all the
world and employed every-
where. These two factors of the
renaissance in art prevent us
all, you as well as us, from
creating significant forms, or a
so-called new style, which will
not be a growth, a development;
one epoch simply in the upward
and continuous evolution of
architecture. More and more
will architecture become uni-
versal— there will be little beside
the conditions of climate and
material which will make di-
versity— unless there comes a
religious evolution, and that is
hardly to be looked for in this century of toler-
ance.

It is necessary to glance at your side. Hav-
ing at the first step reached the culminating point
of all civilizations, having had no childhood apart
from ours, your composite country can offer no
solutions which are not the consequence of our past
conquests, which are yours now, as well as ours.

Certain problems, whose different terms open
the possibility of new discoveries, might furnish
starting-points for interesting combinations ; but
just as your discoveries in science, in literature,
in military art and in all the branches of human
attainment tend more and more to make uniform
the march of progress, just as the easy communi-
cation suppresses more and more the local char-
acteristics which constitute the physiognomy of
all people, and by bringing all together gives to
them the atmosphere of the provinces, and to
the provinces the individuality of cities and vil-

lages, so architecture from day to day will tend
more towards uniformity in future solutions.
This consequence, this extension of civilization,
will prove a great blow to artists. It has taken
us centuries to lose our native originality, which
makes the differences and peculiarities of diverse
styles synonymous with differences in beauty ;
but it has taken us as much time to attain that
proficiency which means to a certain extent the
negation of originality, while it is the index of
the greatest security to the art
of composition.

Like us, you are now con-
demned for not giving proof of
innocence, for not cultivating
your art, for not refining your
tastes and not cherishing your
architecture as much, and more,
in the conception of plans, as in
the arrangement of facades.

Having attained your ma-
jority at the start, we now can
only wish reciprocally that each
of us may reach old age as late
as possible, to uphold each
other in the strength of our
maturity, for decrepitude and
death alone can produce from
decay and ruin that renaissance
of which all generations have
dreamt, and which is the flower
of the grave.

There is no sadness in this
thought ! The highway is long,
and, above all, it is broad, and
we may all walk in it — prob-
ably in uniform step — at any
rate, free and powerful in that
vast clearing which replaces the charming foot-
paths in which our fathers lingered.

J. L. Pascal.
January 31, 1900.

8 Boulevard St. Denis,
Paris, France.

A PAPER BY JOHN BELCHER, A. R. A.

THE remarkable interest taken in the Inter-
national Competition for the University of
California cannot fail to have a permanent
influence on the architecture of that State.

The public not only recognized that the art
had an educational value, but that it had a prac-
tical and commercial one.

The employment of a jury free from all sus-
picion of jobbery or favoritism was a guarantee of
the excellence and fitness of the designs, and the
wisdom of the course adopted was speedily

ARCHITECTURAL ANNUAL

demonstrated by offers made by wealthy men
who were eager to provide for the erection of one
or more buildings.

The indiscriminate erection of incongruous
and faulty buildings by independent donors failed
to induce others to be represented in their com-
pany. Thus the interests of the University
suffered, until the practical foresight of Mrs.
Phoebe Hearst and her advisers originated
the well-organized scheme for a complete and
harmonious combination of university build-
ings.

If the work is well carried out the architec-
ture not only of the neighborhood, but of the
United States generally, will be
benefited and the art receive a
considerable impulse in the
right direction. The proximity
of San Francisco to the mag-
nificent site opposite the
' ' golden gates' ' may cause that
city to review its condition,
and to be infected with the
laudable ambition to take ad-
vantage of the natural beauties
of its site and surroundings.
Its position on the "Pacific"
coast, its splendid and unique
harbor indicate that San Fran-
cisco is destined to become one
of the most important of mod-
ern cities. With but few ex-
ceptions the buildings of this
city are poor in character and
wanting in essential architec-
tural qualities ; a large num-
ber are of timber construction,
of a vulgar type. Its citizens
are aware of and deplore its
present deficiencies. The con-
sciousness of defects is the pri-
mary condition of amendment.
The past is the result of an ignorance for which
the future will hold no excuse.

As a member of the jury on the International
Competition, who received the "freedom of the
city" in recognition of this service, one could
not fail, with such exceptionable opportunities, to
judge of the effect of the competition upon the
city. The ambition of its energetic leaders ma)T
render it possible that similar methods may be
adopted to improve it. There can be no doubt
that the architectural treatment of a city is as
important as that of a university. The enhanced
value of the " sites " in an orderly and well-laid-
out street, treated architecturally (an important
distinction), is obvious. The London County

ment of the new street from Holborn to the
Strand.

American architecture generally shows signs
of breaking away from the prevalent low types of
French work. Its exponents, after servilely copy-
ing, have now out-Frenched the French. The
meanest and poorest models have been taken for
every purpose, and text-books of meretricious
ornament have been ransacked for its decorative
forms. So far- has the imitative faculty been
cultivated that wood is used to imitate stone,
marble, brick and tiles — instead of being made
use of as a constructive material — after the
manner of the "half timber" work which is
the pride of the timber counties
in this country. In cities —
which grow so rapidly in Amer-
ica— the use of timber will be
discarded in the future. Apart
from the risk by fire, however,
the use of steel-frame construc-
tion must supersede it, as,
where ground becomes suddenly
valuable, economy of space is
essential, and increased facility
for rapid extension important,
both perpendicularly and hori-
zontally. The importance of
concentration is one cause of
the increased height which
these steel-constructed build-
ings make possible. The re-
sultant " sk}r-scraper " is not
likely to be a lasting problem
in American architecture. Un-
less these lofty buildings are
restricted in height and locality,
obvious difficulties and objec-
tions must supervene. These
buildings may be regarded as
distinctly American. Archi-
tects had no precedent to fol-
low in France or elsewhere, and it is to their
credit that they have dealt boldly with this
difficult problem. Its bearing on the future of
American architecture is important, for it will
convince them of their own strength and ability
to deal with new conditions. This is the most
that can be advanced in favor of the ' ' sky-
scraper" architecturally. Separately they are
too often hideous. Collectively, as in New
York, they are not without artistic value as
seen from the river and on approaching the
city. Here they pile up majestically and group
well in the vast area. Perhaps the most suc-
cessful of these lofty erections are those which
have been treated as huge "towers." Crocker's

Council should bear this in mind in its treat- building in San Francisco, with its domed termi-

ARCHITECTURAL ANNUAL

nation, while it dominates the city, forms a fine
feature in distant views. On the other hand,
Trinity Church, in New York, with its fine spire
and good proportions, is made ridiculous by
enormous buildings on either side, which are
higher than its spire.

These lofty buildings have received every
variety of treatment in the attempt to im-
press upon them some architectural character.
Many have excellent qualities, but the best are
those which are not designed with an architectural
" order," but are simple and direct in their dispo-
sition.

This element of quiet and unostentatious
simplicity is slowly gaining in popularity. The
beauty of the later " Renaissance work" in Great
Britain, to which the ' ' Old Colonial ' ' of America
is allied, possesses that charm, and the attention
which it has lately received will no doubt be mani-
fest in a more dignified restraint. There are
many able and distinguished architects who de-
plore existing shortcomings, and who are doing
much to remove the reproach of a lack of indi-
viduality in their art.

At present the architectural student spends
his five years in Paris, and returns more or less
saturated with French art, affecting French
manners and the accent of "l'Ecole des Beaux-
Arts."

What is necessary is that he should regard
his studies in France as a foundation on which
he can safely expand.

Sir Christopher Wren was indebted to France,
the only foreign land in which he studied, for
much that he learned. There he met Bernini
and saw the Louvre, but he did not imitate
French or Italian methods.

It has been determined to erect an American
National Institute in Paris. This Institution
will doubtless exercise a wise control over the
students' work, and the fact that a Frenchman is
to carry out the new University Buildings is no
disadvantage. M. Benard is an able man, whose
work is of a pure and refined type, and his influ-
ence will be beneficial to the art of the country,
and in a centre where it will prove fruitful.

John Belcher, A.R.A.
20 Hanover Square, London, W.

ACTION OF THE THIRTY-THIRD CONVENTION OF THE AMERICAN

INSTITUTE OF ARCHITECTS

IN his annual address the President referred to
this competition as follows: "Among the
competitions of the year which have been
managed in a manner creditable to the projectors,
the contestants and the judges, by far the most
conspicuous and memorable is that for the laying
out of the buildings and grounds of the Univer-
sity of California, under the ' Phoebe Hearst
Architectural Plan.' Though the highest award
in this international competition fell to a French
architect, the brilliant part borne especially by
some of the younger American contestants is a
cause of congratulation. I should like to see
the Institute, by formal resolution, recognize our
indebtedness, not only to the munificent and
public-spirited woman through whom this im-
portant architectural event was made possible,
but to the Managing Committee for furnishing
an example so conspicuous of a fairly-conducted
competition on a great scale, and for the courage
and intelligence with which they have conceived
a scheme of architecture which, in extent and
importance, has not been exceeded, if it has been
equalled, in modern times."

yfi ^ ^c y^. tfc >?c

"In regard to the fourth subject of the ad-
dress— the University of California competition —
your committee is of the opinion that nothing
but praise is due to the University authorities
for the far-sighted way in which the future build-

ing operations at Berkeley have been conceived.
We admire Mrs. Hearst for the liberality of mind
she has displayed in making possible in a pecu-
niary way the first steps of this great undertak-
ing ; we congratulate those in charge of the com-
petition that no shadow of unfairness rests upon
their conduct, and we most cordially welcome
M. Benard to the ranks of American practitioners,
and rejoice that a substantial recognition of his
genius, which was by circumstances denied to
him as the author of the design of the beautiful
portico of the Fine Arts Building at Chicago,
should have come to him from this country.

"At the same time, the Institute wishes to
state, in the clearest terms, its conviction that
the form of competition employed in this case
was an improper form of competition, and one
to be generally reprobated. Unlimited compe-
titions are disadvantageous, both to the profes-
sion and to those who institute them. They are
disadvantageous to the profession, because they
seek to get more than is paid for, and thus en-
courage the lowest form of commercialism — i. e.,
gambling — among the 5'ounger men of the pro-
fession. They are disadvantageous to the pro-
moters, because unlimited competitions in effect
exclude the majority of the leaders of the profes-
sion from participation in the service of the pro-
moters."— From the Proceedings of Thirty-third
Annual Convention.

ARCHITECTURAL ANNUAL

THE REQUIREMENTS OF THE UNIVERSITY AND A LIST OF THE PRIZE-
WINNERS IN THE FIRST COMPETITION

The requirements of the University were set
forth in the program as follows :

' ' The general scheme will comprise :

" (i) Provision for the general and collective
purposes common to all the departments, as
follows :

" Administration, University library, Uni-
versity museum, auditoriums, military establish-
ment, gymnasia, printing establishment, habi-
tation, club houses, infirmary, approach and
communication.

"(2) Buildings for all things pertaining to
the general service of the several departments,
such as central power, heat and light station,
postal, telephone and telegraph systems, etc.

"(3) The departments of instruction, so far
contemplated, number fifteen, and the buildings
for their accommodation differ much as to their
relative size and importance.

' ' These departments are as follows :

"A. HIGHER HISTORICAL AND LITERARY
INSTRUCTION.

"(1) Department of Philosophy and Peda-
gogy.

" (2) Department of Jurisprudence.

"(3) Department of History and Political
Science.

"(4) Department of Ancient and Modern
Languages.

"B. HIGHER SCIENTIFIC INSTRUCTION.

"(5) Department of Mathematics.
"(6) " " Physics.

"(7) " " Astronomy.

"(8) " " Chemistry.

"(9) " " Natural History (Zo-

ology, Botany, Geology and Mineralogy).

"TECHNICAL AND APPLIED INSTRUCTION.

" (10) Department of Fine Arts.
"(11) " Agriculture.

"(12) " Mechanical Engineer-

ing.

"(13)
"(14)

"(15)
ical Analysis.

' ' All are to be so connected as to insure easy
communication, both open and covered, between

" Civil Engineering.

" Mining.

" Draughting and Graph-

the groups or buildings, and to contribute to the
stately aspect of the whole."

A detailed account was given of the composi-
tion of each group, with estimates of the number
of students to be provided for, and other indica-
tions as to size and capacity.

In accordance with the provisions of the pro-
gram, 105 plans were received by the United
States Consul-General at Antwerp before July
1, 1898. On September 30th the jury met at Ant-
werp in the Royal Museum of Fine Arts, where
the competitive plans had been framed and
prepared for the jury's inspection. M. Pascal
was elected President, and Mr. Wallot Vice-Presi-
dent, of the jury. The jury continued in session
until the evening of October 4th. By a process
of successive eliminations the jury finally awarded
prizes to eleven plans. Upon this final vote, it
was found that four additional plans had received
one vote each. These, by the desire of Mrs.
Hearst, were also rewarded.

The following are the names of the authors of
the eleven premiated plans, who were entitled to
admission to the final competition :

Messieurs Barbaud et Bauhain.

Monsieur E. Benard.

Herr Professor F. Bluntschli.

Messrs. D. Despradelles & Stephen Codman.

Herr Rudolph Dick.

Mr. J. H. Freedlander.

Messieurs G. Heraud et W. C. Eichmuller.

Messrs. Howard & Cauldwell.

Messrs. Howells, Stokes & Hornbostel.

Messrs. Lord, Hewlett & Hull.

Mr. Whitney Warren.

The following are the names of the four au-
thors mentioned above :

Messieurs Joanny Bernard et Robert.

Monsieur Charles des Anges.

Mr. Ernest Flagg.

Herr Fred Skjold Neckelmann.

By the terms of the Program, it was pro-
vided that only the authors of the plans accepted
at the Antwerp Competition should be entitled to
compete for the final prizes. It was also provided
that the authors of the plans premiated in the
first competition should be invited, free of ex-
pense to themselves, to visit the site of the Uni-
versity and study the problem on the ground.
Authors of nine of the premiated plans accepted
this invitation.

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DETAIL

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MESSIEURS G. HERAUD ET W. C. EICHMULLER, PARIS

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of CALIFORNIA

.AUDITOR" Pi

OXTAIL

DETAIL FRONT ELEVATION

MESSIEURS C. HERAUD ET W. C. EICHMULLER. PARIS

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ARCHITECTURAL ANNUAL

FROM THE TRUSTEES' REPORT

"The International Competition initiated in
1896 is now brought to a close. And in rendering
this report, the Trustees desire to express their
deep sense of appreciation to Mrs. Hearst, to the
jurors and to the competing architects. It is
through the generous, cordial and constant co-
operation of these — Mrs. Hearst, jurors and archi-
tects— that we are able to lay before the world the
splendid results achieved.

"The object of the competition has been at-
tained. A beautiful, artistic realization of their
desires and efforts has been produced. It stands
as a magnificent tribute of devotion on the part
of the architects of many countries to their art.

" Plans beautiful in themselves, appropriate to
the purpose in view and adapted to the site are
before us. While full liberty of treatment was
given to the genius of the architects, in order that
they might not be hampered by any narrow con-
ditions or considerations, their own judgment and
discrimination have so regarded the natural limita-
tions of space and cost that we entertain no doubt
of the feasibility of executing the plans that will
be presented to the regents for approval. For
such execution there will not be required any
larger expense than is justified by the great pur-
pose for which the plan is designed, and the noble
site whereon the buildings are to be reared. ' '

EXTRACTS FROM THE JURY'S REPORT

"In appropriating the amount to be awarded
to each competitor, the jury have taken into con-
sideration the great superiority of the design
placed first over the others submitted, and have
decided upon the following combination :

First prize $10,000

Second prize 4,000

Third prize $3,000

Fourth prize 2,000

Fifth prize 1,000

"Upon opening the letters and removing the
seals covering the mottoes, the jury found that
the authors of the relative designs were as fol-
lows:

" First, Monsieur E. Benard, 29 Boulevard
Pereire, Paris.

"Second, Messrs. Howells, Stokes & Horn-
bostel, 46 Cedar Street, New York.

"Third, Messrs. D. Despradelles & Stephen
Codman, 6 Beacon Street, Boston, Mass.

"Fourth, Messrs. Howard & Cauldwell, 10
and 12 East Twenty-third Street, New York.

' ' Fifth, Messrs. L,ord, Hewlett & Hull, 16 East
Twenty-third Street, New York.

" The jury, after an examination of the refer-
ences and certificates submitted by M. Benard, de-
clare that this architect offers the guarantees
which justify his being entrusted with the execu-
tion of the work.

" It is a matter of congratulation to the mem-
bers of the jury that they are able to record the
fact of their practical unanimity in all the de-
cisions arrived at ; and in concluding their
report they desire to record their appreciation
of the breadth of view and the generosity of
Mrs. Hearst in instituting the competition, and
of the care and intelligence with which it has
been carried out from beginning to end, which
makes it a model for similar competitions in the
future ; and, finally, their sense of the honor
conferred upon them by their share in it.

"J. L. Pascal,
"John Belcher,
"Paul W allot,
"Walter Cook,
"J. B. Reinstein.

"San Francisco, September 7, 1899."

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ARCHITECTURAL ANNUAL

COMMERCIAL ARCHITECTURE

BY WM. COPELAND FURBER, ARCHITECT, M. AM. SOC. C. E.

THE architecture of commercial structures
is a problem requiring for its correct solu-
tion the work of a mind free from the fet-
ters and limitations of bygone ages and condi-
tions. Designers who think only in "terms"
of traditional architectural expression can hardly
hope to plan properly the structures required for
housing the processes used in the application of
science to the manufacture of commercial pro-
ducts.

In the design of all structures devoted to
commercial purposes, such as office buildings,
store buildings, factories, power houses, etc., the
reason for their existence should not be forgotten.
Office buildings are erected for the conveni-
ence of the tenant, and for the corresponding
convenience of the public using them ; but in
order that the investment may be a profitable
one, these two conditions must equate with a
third factor, that of commercial utility, or rev-
enue-producing capacity. When these funda-
mental essentials have been provided for, an
earnest and intelligent effort should be made to
cover these necessities with constructional grace,
rather than attempt to cut down the require-
ments to fit any architectural " ready-made
clothes;" and herein will the ability of the de-
signer manifest itself, for ' ' necessity has ever been
the mother of invention," and then again, on the
other hand, we have the scriptural injunction
against " putting new wine into old bottles."

Store buildings for retail dealers require
windows for display, and in many cases wall
space for advertising purposes. In the large
retail and department stores, the show windows,
for the display of goods, should be the dominant
note of the design. The piers and superstruc-
ture should not be so treated as to convey the
impression that the large windows were begrudg-
ingly put in by the architect, only on the impera-
tive order of the owner. If the style proposed
to be used does not lend itself readily to an
' ' open ' ' treatment, it is evident that the style
selected is not a fitting one. In this connection,
the idea embodied in the old sayings " the clothes
were made for the man, and not the man for the
clothes" and that "the body is more than
raiment" might be borne in mind and has a
pertinent application to commercial architecture.
Granting the use of signs as necessary for
certain kinds of business, it becomes the duty of
the architect to provide for them, and likewise

his privilege to educate the public in the artistic
use of signs. Had the proper use of signs been
considered in the past, our streets would not now
be disfigured by incongruous and unsightly dis-
plays of all varieties of ugliness, our city ordin-
ances would not have to forbid overhanging
signs, nor would our buildings be covered up with
advertisements. The sign is a legitimate func-
tion of business and should have its place in the
design, and this place should not be subordinated
to lesser requirements. The artistic evolution of
the "poster " in the last few years indicates the
possibility of the combination of advertising and
art. Can not the architect combine utilitarian
necessity and architectural grace ?

Mill buildings, carpet and textile manufac-
turing establishments, employing many individ-
ual machines, needing ample light and space,
seem to have almost escaped architectural con-
sideration in most of our cities, and the attempts
which have been made in this direction have not
been encouraging, because the designer, through
ignorance or incapacity, has not been in sympathy
with the spirit of the purpose to be accomplished.

Power houses and factories have come with
the end of the century in answer to the call for
the economical development and application of
power. In this age of commercial and scientific
activity, the manufacturing plant occupies a
larger space in the community than the churches
and cathedrals did in ages gone by, and the hap-
piness and welfare of a large number of people
are dependent on its successful management.
Therefore, these concentrations of power and
aggregations of industry having become such a
factor in every -day life, they should receive a
corresponding amount of attention, and while
they are necessarily engineering structures, it is
possible to design them in such a manner as to
solve these problems of engineering and architec-
ture successfully ; meeting in the fullest sense
the demand that cannot be ignored, yet granting
to the eye and the imagination some measure of
beauty and interest, which will raise them above
the commonplace.

We must realize, I think, that the architec-
ture of the past was a legitimate artistic expres-
sion of the utilitarian needs of that time, in
order to understand how it grew and eventually
solidified into the expressions of thought which
we have inherited ; yet it is evident also, I think,
that these forms were not drawn at random, or as

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ARCHITECTURAL ANNUAL

the result of chance or caprice, but finally reached
their present shape through a patient attempt to
truthfully portray the main purpose of the struc-
ture and its construction, in a way which ad-
mitted that beauty also was an end to be attained.

Having inherited certain architectural forms
and details, which by common consent and
acceptance have become the grammar of our con-
structive architecture, it is proper to utilize them,
as we utilize the words of existing languages, to
express our thoughts and purposes ; but, in order
that our expression may not become mere dis-
simulation or worse, they must be used truthfully.

Classic architecture was never developed
along commercial lines, but, from the legacy the
ancient and medieval architects have left us,

there is little doubt that, had the necessities of
our to-da)'- existed for them, they would have
met the conditions as squarely and courageously,
and then complied with them with as much
grace as they embodied their own ideas and
needs, in a " perfect union of spirit and matter."

" Ah, to build, to build,
That's the noblest art of all the arts.
Painting and Sculpture are but images —
Are merely shadows cast by outward things
On stone or canvas, having in themselves
No separate existence. Architecture,
Existing in itself, and not in seeming
A something it is not, surpasses them
As substance shadow."

Michael Angelo,
Longfellow.

■ THE SCIENCE OF CITIES •

TREATMENT 0FANAV1CABLE RIVER
• THR0UCH AN INLAND CITY-

AFTER

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ARCHITECTURAL ANNUAL

THE TRAVELLING FELLOWSHIP IN THE COL-
LEGE OF ARCHITECTURE OF CORNELL

UNIVERSITY

BY AN ENTHUSIAST

THE patrons of the Annual may be interested
to learn the results of the new travelling
fellowship in the College of Architecture
of Cornell University. "Progress before prece-
dent " has certainly been the motto of the mana-
gers of this fellowship, for it has been conducted
upon entirely new lines, and in the face of strong
criticism from some of the champions of the ordi-
nary method of conducting such fellowships.
That the experiment has succeeded is another
refutation of the old saying that there is nothing
new under the sun. That the authors and the
first holder of the prize are entirely satisfied with
the venture is certainly encouraging to those who
would adopt for their professional creed the motto
mentioned above.

The fellowship consists of an award of $2,000
to be issued biennially to the winner of an archi-
tectural competition, the money to be paid in
installments during two years. In planning the
details of this fellowship, considerable dissatis-
faction was felt with the custom of travelling and
of making measured drawings. It was believed
that such fellowships or scholarships result princi-
pally in the production of fine draughtsmen.
The documentary value of such measured draw-
ings was considered questionable, since nearly
all of the better buildings of the world have been
measured and drawn by experts in the employ of
the European governments or by individuals
working in their own interests. That these re-
sults are within the reach of every one through
books and photographs is sufficient argument
against the enforcement of this kind of work upon
travelling students. In ninety-nine cases out of
a hundred the winners of travelling scholarships
are in need of training in architectural compo-
sition. With this in mind the professors of archi-
tecture at Cornell University debated between the
two following schemes, viz.: (1) to send the
winner of the prize immediately to Paris with the
intention of entering the Ecole des Beaux-Arts,
or (2) to divide the two-year period into two

separate periods of home study in advanced de-
sign at Cornell and two separate trips to Europe.
The second of these plans was chosen, chiefly
because of the difficulty which most men encoun-
ter in the entrance examinations to the Ecole des
Beaux-Arts, and also because of the stimulus
which the home study gives to the student who
spends an entire college year in anticipation of
the foreign travel. Certain it is that Mr. Dole,
the first holder, spent a most profitable year at
the College of Architecture, from October, 1898,
to June, 1899, working partly on undergraduate
problems and partly on the very important and
imposing composition of a College of Fine Arts
for Cornell University, which appears among
these pages. Some idea of the industry, fired by
enthusiasm, which pushed these drawings to a
completion may be gained by considering the
size of the drawings. The elevation measures
15 feet in length ; the plan is 8 feet by 10 feet,
and the bird's-eye perspective is over 7 feet long.

Mr. Dole sailed in June for Antwerp and
spent four delightful months in Great Britain,
Holland, Belgium, Germany, Austria and North-
ern and Central France. He returned to the
college in November, and is now at work on a
very complete set of drawings for an Episcopal
cathedral. The nature of this problem was known
by him before he sailed for Europe, and during
his travels he paid particular attention to cathe-
dral architecture, thus joining in a practical way
the home study to the foreign travel. Next Sep-
tember Mr. Dole will sail for Italy direct, with
the intention of spending the remainder of his
fellowship period in Southern Europe and in
Paris.

The second competition will be held during
the coming summer months. There will doubt-
less be a keen rivalry among the candidates, for
the fellowship has attracted much favorable com-
ment and is regarded to-day as one of the most
attractive opportunities open to architectural
students.

■

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ARCHITECTURAL ANNUAL

A CODE GOVERNING COMPETITIONS

BY JULIUS F. HARDER
Chairman of the National Committee of the Architectural League of America upon Code Governing

Competitions in Design

The following paper was read and liberally discussed at the Cleveland Convention. All interested in the movement should address
the chairman, 91 Broadway, New York City.

R. Chairman and Gentlemen : — Since
this convention assembled this morning
the expressed sentiments upon three par-
ticular things have repeated themselves with
positiveness and persistence.

(1) There is a sentiment which seeks to de-
part from architectural isolation and desires us
to rub elbows with our fellows in the allied arts.
There is a feeling that our architectural organi-
zation should be expanded to a degree of in-
clusiveness comprising all the allied arts —
sculpture and painting, workers in decorative
glass, metal, mosaics and every form of artistic
workmanship and product which enters into the
fine art of building beautifully — and the idea of
expansion even extends to including reinforce-
ment by the admission of lay members in clubs
to certain restricted membership.

(2) There is a strong current perceptible, set-
ting in the direction of establishing the practice
of architecture as a business upon an appropriate
pedestal of respectability and responsibility ; to
begin the work of establishing professional ethics
and providing the organization for control and
discipline ; to rescue our practice from the slough
of despondency in which it is freely admitted to
find itself and to make a line of markation be-
tween those methods which are considered as
proper and productive of wholesome results and
those others which are generally agreed to be
improper and invariably produce bad results.

(3) This convention appears to be unani-
mously of the opinion that architectural organi-
zations should assert themselves in their own
community and municipality and also nationally,
to fulfil their obligations to society, to the end
of securing proper consideration from an archi-
tectural point of view for public works of art and
architecture of all classes.

It is with all these, but more particularly with
the second, that this paper deals, and its conclu-
sions are founded upon them as a premise.

Before entering upon the debate which the
presentation of this code governing competitions
in design will undoubtedly bring forth, it might
be well to outline for a moment the intentions fol-
lowed in framing the code now before you and
the conditions which command and restrict the
subject.

It is not to the purpose of either action or
non-action to discuss whether competitions are
good, bad or indifferent ; whether the method
of competition produces better works of art or
whether it is the only means by which wonder-
ful hidden talent can alone strive to the light
of day. Neither from the artistic, ethical, moral
or business point of view is this important.

To those, however (and there are many), who
have never gotten beyond this point, and to those
(who are also many) whose constant wail it is
"that competitions are unsatisfactory," is offered
the consolation that the establishment of a code
will undoubtedly have the effect of largely reduc-
ing the number of competitions. This must be
apparent, for, when promoters indulging the
thought of getting something for nothing by
means of a competition find a contract staring
them in the face, unnecessary and uncalled-for
competitions will not be entered upon as care-
lessly as is the case at present.

Surely the opposition to the establishment
of a code should not come from those who have
given up all hope of reform as to methods. Even
the effect of an honest attempt to be in harmony
with their case-hardened condition.

It does not seem to be, therefore, necessary
to discuss here at all the question as to whether it
is a fact that the method of competition in design
produces better or the best results, or whether
we shall indorse the method and to what extent.
The fact remains, and this we cannot escape,
that we have the competition with us, that it
bids fair to remain in popular favor and that
the place which it holds in democratic affec-
tions extends to an ever-widening influence.
We may regard the process as a necessary evil
or an unnecessary blessing ; still it is here and
forms a proper subject to be dealt with and regu-
lated by organizations of professional men.

When we look about us and observe the im-
portant enterprises which are at this moment
made subject to this process of competition in
design and the finished works which will of
necessity bear the impress of the process, for
better or ill, it certainly seems as though this
work of establishing a code were well worth
doing and worth doing well.

It is all very well to ridicule the attempts and

100

ARCHITECTURAL ANNUAL

failure of others to conduct competitions success-
fully, but when the responsibility is thrown upon
ourselves, what shall we do, or leave undone, to
do better and produce fairer results ?

Shall our committees continue to construct pro-
grams which prove but a rope of sand and our own
expert juries return verdicts which avoid responsi-
bility and become the convenient means by which
the issue may be evaded, thus suffering the entire
contest to which we have lent our auspices to become
a protest and laughing-stock in the community ?

It is for ourselves, then, first of all, that we
lay down a guide in these matters at once reliable
and uniform for all cases.

It is for this reason, also, that it is with the
process itself that we have to deal rather than
with merely expressing opinions as to the pros
and cons of any particular species or other ques-
tions extraneous to it.

The main abuses of the past have not been
that there was no professional adviser or expert
jury, nor that the remuneration was insufficient
or that there have been too many or not enough
competitions ; the difficulty has been rather that
the programs did not provide the elements of
a contract and that they have been faulty in other
respects ; that juries and experts, however com-
petent to judge of the artistic and technical
qualities of the work submitted {largely by reason
of faulty programs, it is true), failed to give that
unreserved verdict to which the winners are
entitled.

More than any other, perhaps, the specific
abuse which the proposed code operates against is
the one that the final award is generally not made
upon the expressed terms, conditions and plain
understanding upon which competitors are in-
vited to enter. Some convenient means is gene-
rally found to repudiate the agreement or to
evade the plain issue.

The code provides means that if there be a
pretence about the purpose and if the award is
to be made upon any other basis than merit
alone, the pretence shall be unmasked at the
beginning and before a number of unsophisti-
cated competitors shall have been robbed of
their work. The code further provides that the
award shall be made upon the basis as originally
agreed upon without alteration or deviation by
any causes whatsoever.

There is nothing contained in the code as
presented which is antagonistic to, or in conflict
with, any action already taken or agreements
reached by other bodies. While the essence of
previous actions has been to discriminate as to
when there should be competition and when
not, and upon the amounts of remuneration,
this joint committee has contented itself with

formulating a process by means of which the
contest itself may be conducted with fairness,
equity and justice to all concerned.

The code as reported is simply a reduction to
definite and exact terms of a systematic and orderly
process of contest, and while it does not concern itself
with questions of remuneration or enforcement, both
of these provisions can be made applicable to it when
the time appears ripe for their enactment.

There are certain elements of contest which
must first of all be agreed upon as fair, orderly
and essential.

Certainly, these two simple propositions are
fundamental to all contests, whether it be horse-
racing or designing — that the competitors shall
meet upon equal terms, without advantage or
favoritism, and that the judges of the game shall
themselves be conceded to be competent in the
premises and disinterested.

This last does not mean necessarily that the
jury must be composed exclusively of profes-
sional artists, and by naming the jury in the
program each competitor is accorded opportu-
nity to pass upon the competency of the jury for
himself. This is a greater privilege than is
accorded even in courts of law.

I have reached the positive conclusion that
the establishment of an agreement as to what
constitutes the ethics and morals of competitions
is of vastly greater importance, of more far-
reaching influence and of more immediate benefit
than any consideration of the business or legal
aspects, questions of discipline or enforcement or
amounts of remuneration could possibly be.

If any organization feels itself strongly enough
organized to attempt enforcement, it would be-
come a simple matter to resolve that its members
must not participate in competitions held under
other than the accepted code under penalty of
suspension or expulsion from membership.

It has seemed to the committee, however, that
if the code is good, desirable and wholesome, it
will enforce itself; if it proves unnecessary and
undesirable it would be bad policy to attempt
enforcement. In either event provision for en-
forcement seems immaterial at the present time.
Whatever code may be adopted, it must be simple
enough to be acceptable to all the various bodies
in order to insure concerted action even to the
extent of identical wording, as it is only through
concerted action that it can be shown that the
profession is agreed upon some one thing, by
which attention can be commanded and a reform
obtained.

I want to state right here, in order that I may
be fully understood, that it is my conviction that
on the whole it would be better if the method of
direct competition were taken out of all art mat-

ARCHITECTURAL ANNUAL

101

ters. The impossibility of this has been, how-
ever, sufficiently demonstrated.

The next best thing would logically seem to
be to reduce the number of competitions and to
lay down stringent regulations for the conduct of
those which must be and will be held, and to
supply, if it be a physical possibility, the organi-
zation and machinery for enforcement, control
and discipline. This last would necessarily
result in something akin to tradesunionism, with
its certain advantages on the one hand and all its
familiar unpleasant and disagreeable features on
the other. Considered from the artistic stand-
point it would be abhorrent and impossible to
enter upon a course which would involve the last.
Nor would it become necessary to do so. Every-
thing which is desirable can be realized by the
adoption of milder methods.

It is true that some may feel that, as a solution
of all the difficulties of architectural professional
practice that can possibly be thought of, the code
is not wholly satisfactory. Admitted. It is con-
tended that nothing is good for anything unless
it can be and is enforced. That is a difficulty,
not of the code, but of lack of machinery of en-
forcement and control.

You will agree with me, also, I am sure, that
in order to be in a position to satisfactorily enforce
something we must first become agreed as to
what the moral basis at least of that something
should be.

It is certainly not asking a great thing of the
profession, which pretends to be clamoring for a re-
form of an abuse under which all its practitioners
are suffering, that it should commit itself morally
to so innocent and harmless a matter as the proposed
code.

It cannot possibly do any harm if a certain
morale shall receive recognition and standing.
There can be none who contend that it may be hurt-
ful. There may be those who feel that it would
not do great good, but there are many who think
that it will do some good. These last may be wrong,
and if this should prove true, even then their efforts
could have done no harm. Let the step be a small
one, it is a forward impulse and denotes progress.

The public at large is desirous of being fair,
but often they do not know how to be so. They
are too apt to look upon the services of the artist
or architect simply from a mercantile standpoint.
To them the competition is simply a case of show-
ing goods, and they feel at liberty to accept and
reject upon any basis which is considered to be
important at the moment, or made to appear so.
The original basis of issue of every competition
is that of merit, pure and simple. This plain
issue is too often side-tracked by unworthy and
improper machinations, in the period between

the issue of the program and the day of final
reward.

The present purpose is to secure, if possible,
the sympathetic and concerted action of all clubs
in this direction. At the time when our joint
committee was formed, about three years ago, it
was suggested that it should embrace delegates
at once from the clubs of Cleveland, Cincinnati,
St. Louis, Chicago, Boston and other cities. But
it was thought that, on account of the necessity
of a great number of meetings before a tangible
result was arrived at, and because of the time
and cost incurred in travelling from remote
points, the formation of a joint committee of
this scope would be impractical.

What we are endeavoring to accomplish now is
this : To have the code as it now stands in its en-
tirety adopted by as many societies as possible, and
then, after about two years of experience under it,
to call a natio7ial conference of delegates from all
such societies, and make such amendments as seem
just and desirable.

You will-appreciate, of course, that this code
is a compromise among many elements, that its
creation was surrounded by many practical dif-
ficulties, and that, when considered by many in-
dividuals, many ideas as to changes in it will be
presented ; it must be remembered, however, that
its force and usefulness will be in proportion to
its being identical in all architectural bodies, and
that whatever merit there may be in any devia-
tion from it, that benefit would be outweighed
by thus weakening the strong front which
absolute identity would present before the
public.

It will, of course, be apparent to you upon
examination that it is simply an establishment of
some kind of recognized ethics of competition,
that it is a moral force and intended to apply at
least to all competitions over which a club has
control. Its general adoption would correct in a
measure the numerous abuses of competitions,
but at the same time it is not pretended that all
the difficulties of architectural practice can be
cured by it alone.

The question will be asked : What good will
it do to adopt this code ? The answer is : It will
accomplish several good things immediately :

(i) It enters upon the road to reform by
taking the first step which must be taken to
accomplish anything.

(2) It commits the profession to a recognition
of certain uniform principles of ethics relating to
the subject.

(3) It can be immediately applied to such
competitions, both private and public, over which
clubs have control, and in cases where the execu-
tive of clubs is officially consulted.

102

ARCHITECTURAL ANNUAL

(4) It establishes a standard by comparing
which with an issued program professional men
will be able to decide whether it is advisable to
enter or desist from a proposed competition, and
provides the reason therefor.

(5) It places clubs in a position to announce
to its members or publicly state whether it
approves or disapproves of the terms and con-
ditions of a proposed competition and to state rea-
son therefor.

GENERAL CODE GOVERNING COMPETITIONS IN DESIGN

RECOMMENDED FOR THE ADOPTION OF ALL ARCHITECTURAL BODIES BY THE FIRST
CONVENTION OF THE ARCHITECTURAL LEAGUE OF AMERICA

On January 19, 1899, the Executive Committee of the Architectural League of New York met and ratified the action of the Joint
Committee on Code, held April 5, 1898. This Joint Committee consists of John De Witt Warner, Chairman ; J. F. Harder, Secretary. The
Architectural League of New York was represented by J. F. Harder, F. S. Lamb, A. W. Brunner. The National Sculpture Society,
John J. Boyle, Daniel C. French, John De Witt Warner. The National Society of Mural Painters, C. M. Shean, Herman Schladermundt,
C. R. Lamb, and the Philadelphia T-Square Club by Frank Miles Day, Walter Cope, T. W. Kellogg.

This Joint Committee is the outgrowth of a series of meetings and actions on the part of the societies represented, extending over the
period of the past two years, culminating in final meetings held February 26 and April 5, 1898, at which amendments referred by the respec-
tive associations were harmonized.

Before the Cleveland Convention the Joint Committee, in submitting the following general Code, added to it as part of their report
the following statement :

(1) It is the sense of this Committee that the enforcement of this Code and trials or penalties relating thereto involves questions of law
on the one hand or of ethics on the other, neither of which are considered as properly within the scope of this General Code.

(2) It is the sense of this Committee that the question of rate and basis of remuneration for services in connection with Competitions
further than general insistence upon remuneration to each to whom an award is made is not properly within the scope of a Code on Com-
petitions, but is rather an item of the broader general subject of Remuneration, which should form the subject of independent considera-
tion and adjustment.

I. DEFINITIONS

A COMPETITION in design is the pro-
cess by which, on the basis of merit, from
two or more designs proposed, one or
more are selected.

(2) Competitions may be either "open" or
" limited."

(3) An ' ' open ' ' competition is one in which
any person may be a competitor.

(4) A " limited" competition is one in which
each competitor is especially invited.

(5) A competition of either class may be
either —

(a) " Premiated " — in which remuneration
is provided only for those to whom an award is
made.

(b) " Paid" — in which remuneration is pro-
vided for each competitor.

(6) The promoter is the party who undertakes
responsibility for fulfilment of the competition ac-
cording to its terms, and shall provide for proper
and substantial remuneration to each competitor
to whom an award is made.

(7) The program is the offer made by the
promoter, and includes the written or printed
statement of the terms of a competition on the
basis of which proposals are to be made.

(8) A competitor is one who in acceptance of
such offer submits a proposal in accord with the
terms of the program.

II. THE PROGRAM

(9) The program is an agreement, the terms
of which must be carried out in good faith by all
parties.

(10) The terms of the program are to be
concisely stated and must be mandatory.

(11) The program shall —

(a) Be headed substantially as follows :
"Under the General Code Governing Competi
tions in Design of the Architectural L,eague
of America, of which a copy is subjoined,

( Name of Promoter.)

invites competitive proposals upon the following
program."

(b) Contain a definite statement as to pro-
posed cost.

{c ) Contain a definite provision as to anony-
mity.

(d) Name the jury, which must include
experts upon the subject under consideration.

(e) Fix uniform requirements for drawings,
models, or other forms of proposals.

(/) Fix a definite time and place for re-
ceipt of drawings, models, or other forms of
proposals.

(g) Fix the nature or amount of the
awards or prizes.

(/* ) Fix the period of time within which
decision will be rendered.

III. DRAWINGS OR MODELS

(12) The requirements for drawings, models,
or other means adopted for illustrating or describ-
ing the proposals, must be clearly defined in the
program, including, namely, that they be uniform

ARCHITECTURAL ANNUAL

103

as to character of rendering, scale, number and
size of separate sheets or pieces, and such other
detail as may be necessary in the peculiar circum-
stances of each case.

(13) The requirements for drawings, models,
etc., must be of the simplest nature, adequate
clearly to explain the design, thus reducing to a
minimum the labor and materials necessary in
their preparation.

IV. THE JURY

(14) All competitions are adjudicated by the
vote of a jury, including disinterested experts.
If the subject of the competition be such that its
execution requires special expert knowledge,
then, if permitted by the program, the jury may
call in additional disinterested experts, and also
the promoter, to advise with them.

(15) The order of procedure of the jury shall
be as follows :

(a) Reading the program.

(£) Passing upon the question of calling in
expert advisers or the promoter.

(c) Passing upon the work submitted, with
reference to conformance with the conditions of
the program. The jury must exclude from con-
sideration proposals violating the conditions of
the program.

(d) Passing upon the manner of arriving
at the verdict.

(e) Deciding upon the verdict.

(/") Writing and signing the verdict.

(16) The jury may decide whether the prime
object of the competition is to select a design, or
whether it is a means of test, having for its object
the selection of an artist.

(17) The jury must make the awards to the
competitors as stipulated in the program.

(18) The drawings, models, etc., are not to be
placed on exhibition before the verdict of the
jury is rendered, and except when otherwise pro-
vided in the program shall remain the property
of their proposers.

(19) Voting must be by ballot, but procedure
otherwise shall be as agreed upon by the jury.

(20) The action of the jury shall be final.

V. BY-LAWS

(21) Any subscribing society may prescribe
such by-laws additional to this general code of
competition and not in conflict therewith as it
may see fit ; but such by-laws are to be included
under a separate head, and indicated as being the
by-laws of the particular society prescribing
them, and the other subscribing societies shall be
served with an official copy of such by-laws.

FIRST PRIZE DESIGN— SUN DIAL COMPETITION

CHARLES A. LOPEZ, SCULPTOR BRITE & BACON, ARCHITECTS

104

ARCHITECTURAL ANNUAL

LESSONS FROM THE PARIS EXHIBITION

1900

" Magician hands through long, laborious nights
Have made these princely palaces to loom
Whiter than are the city's legion lights,

On threads unseen stretched out across the gloom.
Reared in an hour, for one brief hour to reign,

The proud pavilions watchful hold in fee
A world's achievements, where the stately Seine
Slides slowly past her bridges to the sea."

— Guy Wetmore Carry!, in Harper's Weekly.

WERE it not for the widespread and pre-
mature criticism that this undertak-
ing has occasioned among architects in
this country, we would hesitate to discuss the
Paris Exposition, and even in doing so we would
have it understood that this tentative mention is
merely in the way of a preface to more careful
discussions, which will appear later.

In a brief way, we would call attention to a
few masterful thoughts, to the solution of several
gigantic problems and to the heroic treatment of
some difficulties that, in all their immensity, have
presented themselves for the first time. One of
the greatest of all problems was, and throughout
the Exhibition will be, the facile handling of the
throngs that come to the grounds. Paris, through
all ages, has been a city where visitors and for-
eigners congregate. Many times it has been
called upon to increase its powers of accommoda-
tion, but, in this instance, the Parisians judi-
ciously foresee that a tidal wave of humanity is
about to break upon them such as they never ex-
perienced in all their years of entertainment. It
is, therefore, strange that the Exhibition grounds
should penetrate further into the heart of the city
than ever before, but, owing to this fact, the re-
sults of the Exhibition of 1900 will develop and
beautify the metropolis as no exhibition in the
past has ever done, and the harmony of perspec-
tive that will be obtained in uniting the light and
the left banks of the Seine by the new " Vois
Triumphal — gloire du Siecle " and a new bridge,
which will stand for all time as the symbol of the

Franco-Russian alliance, furnishes a great ob-
ject lesson in city-making.

Were it not that the purpose of this paper is
to discuss the buildings of more ephemeral char-
acter, we would call attention to the impressive
grandeur of the two palaces of art which will
adorn the city as permanent edifices, and to other
permanent features along the banks of the Seine.

Another influence upon the city, as a whole,
and a far more comprehensive one than the mere
planning of that quarter to be occupied by the
Exhibition, is the development of the new metro-
politan underground railway. Miles of enor-
mous conduit now give Paris a safe, rapid transit
system hidden within the bowels of the earth,
and yet always within a few yards of the busiest
thoroughfares. This great work has been carried
along with little disturbance to the surface of the
streets. Enormous superstructures have had to
be supported, while trees and monuments have
remained undisturbed as the work progressed.
The whole line of foreign edifices on the Street of
All Nations, rising, as it were, on stilts, is built
over a railroad.

We are apt to think of such work as a
scientific achievement only, but the visitor who
enters the subway, at no matter which of the
new stations, will be surprised at the addition
of these approaches to an already model thor-
oughfare system without disturbing the sym-
metry of the surface. Its advantages lie in re-
lieving congestion, making the suburbs accessible
and doubling the utility of the old thoroughfare.

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ARCHITECTURAL ANNUAL

107

Generous circulation, openness and grandeur
have long characterized " la Ville Lumiere," but
it has remained until the closing year of the
century for it to reach a dazzling climax.

We may well preface our remarks bjr a quota-
tion from an article written by Mr. Russell Stur-
gis some years ago. He said : " The incalculable
advance made in the Paris Exhibition buildings
of 1S78 and 1889 and the retrograde effect of
the Chicago pseudo-Roman colonnades are recog-
nized by many. The modern spirit is in the art
of old France more than with us."

The main entrance upon the Place de la

Concorde is vast and spacious, and, at the same
time, wonderfully compact and well calculated
to meet the most minute turn-stile requirements.
It forms a tripod, such as the world has never yet
seen, and its color effects by day and night will
be very novel. M. Binet, the architect, has here
conceived a festival effect of great splendor, and
in his ornament has used a repousse pattern
which suggests Mr. Louis Sullivan's original
work, though this is worked out in light metal
and brilliant glass.

It is composed of three immense arches each
65 feet wide, opening into a dome, and flanked

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PLAN OF THE APPROACH TO THE ALEXANDRE III BRIDGE

ARCHITECTURAL ANNUA!

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From V Illustration

PLAN OF THE MOST MODERN FOCAL POINT IN THE EXHIBITION

by ornamental buttresses, each supporting a lofty
decorated minaret 160 feet high. The vestibule
covered by the dome occupies over 6,000 superfi-
cial feet, and is surrounded by fifty-eight entrance
gates, and pay boxes, arranged in a very ingen-
ious manner so as to allow entrance to be made
under and above each pay box by means of
slightly rising or falling slopes. Thus, this
semi-circular area, over which float the flags of all
nations, is made to do double duty, and the only
non-available space taken up by these radial
entrances is that occupied by the slight thickness
of the dividing partitions. It is calculated that
a crowd of sixty thousand visitors may very com-
fortably enter through the entrances in an hour,
and spread out in a fan-shaped stream on the
old Cours la Reine, now rechristened the Quai
de la Conference. The porte monumental, be it
remembered, is but a temporary device, and may
smack too much of " l'art moderne " both in its
architectural expression and in its statuary above,
below and in the " Frisedu Travail," yet on the
whole it is a unique and masterful creation.

In deciding upon the most monumental
focal points to terminate the vistas within the
Exhibition grounds, the committee took advan-
tage of the dome of the Invalides as one and the
towers of the Trocadero offered another at the
end of the Champs de Mars. With these deter-
mined, there remained still another great vista,
that of the Grand Court of the Champs de Mars,
to be terminated with something which should
typify the age in an entirely novel manner. This
was accomplished by designing an electricity
building, masked by a huge fountain.

The colossal Electricity Building, designed
by M. Eugene Henard, and the electric Chateau
d'Eau, designed by M. Paulin, together represent
a collaboration that is little short of materialized
fairyland. They are on the admirable site of the
Dome Central, the principal architectural feature
of the 1889 Exposition. The dew-drops and
jewels of "The Midsummer Night's Dream"
are here brought into the reality of the twen-
tieth century. Internal lighting and external
illumination, combined with ever-moving sheets
of water, produce a spectacle far surpassing the
wildest Oriental dreams.

A serious problem presented itself in the
running of machinery throughout the Exhibition.
This necessitated a force no less than 1,200 horse-
power. With surprising ingenuity, hydraulic
pressure was utilized, so the same water that
falls in graceful and illuminated curves as an
ornament also serves the Exhibition in a most
material way. The water is pumped from the
Seine and conducted underground to its various
points of usefulness.

The glitter of lights and running water, the
gushing fountains and illuminated basins, the
darker grottoes against which forms of nymphs
stand out in profile — all these present such a
marvellous picture that the eye is attracted to
them from afar. Instinctively urged in that
direction and unconsciously following the broad
winding avenue, the visitor is gradually ap-
proaching the higher level, but all the while
oblivious to it, with his attention centered on the
wonder and beauty of the dazzling scene. From
the open arcade of adjoining buildings he has

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ARCHITECTURAL ANNUAL

From the Builder, London

PLASTER CAST OF MODEL OF ELECTRIC FOUNTAIN

been successfully brought up to the second ex-
hibition floor without having thought of stairs
or elevator. It has all been brought about by
himself, for he has, step by step, sought the
best vantage ground, the best position from
which to view this charming glitter of electricity
and falling water, and having obtained that view,
he stands just where the architect wants him to

be. Thus, a cascade, over ioo feet high, forms
one of the great objective points for sightseers by
day or night.

The brilliant and scintillating background
symbolizes the great power — electricity. The
new forms, in metal and glass, lit by innumer-
able lights, are symbols of the advances of its
great allies. At night, as one approaches any

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1 I 1

suburban American town from the open coun-
try, he sees a line of jewels sparkling on its hem;
when one approaches the Paris Exposition this
trivial ornamentation has been changed to a
mass of shining lacework, composed of metal
and glass, full 120 feet above the ground. At
that height it makes day of the darkest evening,
and is an ever-changing diadem of light and
color.

As M. Alfred Picard, the Commissioner-
General of the Exposition, has so aptly said :
"The year 1900 not only coincides with the
usual cycle of eleven years, which periodically
brings an exhibition round, it also marks the
end of a century of prodigious scientific and
economic growth, and it opens a new era which
will perhaps be more fruitful still. ' '

In conclusion, one must remark the light-
ness of construction possessed by all the build-
ings and never so satisfactorily attained in any
exposition before. There are great stone arches,
ponderous pillars, and airy spans, but they

harmonize. All form a unified mass that in all
its grandeur seems hospitable and cosmopolitan.
There are marvels in stereotomy and metal-
wonders treated most frankly, and with decora-
tive taste. Those who are accustomed to con-
ceal structural iron in their architecture will be
convinced and enlightened by the frank use of it
in the Exposition. The element of lightness is
by no means foreign to the romantic spirit of the
entire Exposition. It is all primarily a decoration,
a passing festival, a pageant. Just as the Pre-
Raphaelites attract us by their prominence 01
ornament, their pleasing of the senses by the
real treatment of the romantic, so the attractive
and decorative buildings of the Exposition please
us in their open avowal of their lightness — their
ephemeral nature. But we have chosen a faulty
comparison, for the art of the painter's brush,
though often symbolistic, is never so universal —
so free from personality as to represent the prog-
ress of an entire world as does the collection of
buildings we term the Paris Exposition.

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CENTRAL FEATURE OF THE MINING BUILDING

112

ARCHITECTURAL ANNUAL

EXTRACTS FROM PAPERS BY H. K. BUSH-
BROWN

The following, reprinted from an article in Municipal Affairs, and from his address at the Cleveland Convention of the A. L. A., by
H. K. Bush-Brown, a well-known sculptor, and the Chairman of the Committee upon Municipal Monuments of the Architectural League o'f
New York, are full of sound suggestions. As a whole, his article outlines a systematic way to embellish the city of New York with a view
to the preservation of local history, and is a businesslike paper, containing many good ideas, which should be studied. He frankly begins
by stating " that the suggestions are not made with the hope of avoiding criticism, but for the purpose of stimulating it, so that a consensus
of opinion may be reached." His first idea is to divide the city into six parts, each one to be the centre of one of six historical periods,
which have marked the city's growth from the primitive Dutch New Amsterdam to the present cosmopolitan Greater New York. — The
Editor.

SUPPOSE," he says, "never in the history
of man has there been such a migration of
the human race as has come to these shores
during the century just closing.

"Almost the whole of this influx has landed
at Battery Park, having first touched this conti-
nent at Castle Garden. People of all countries
coming in hordes for many years and passing
through a single gate, to be again distributed
over the continent, attracted by the freest institu-
tions of self-government and the great chances
offered by a new and half-developed country — a
country where equality of man, with manhood
suffrage, is the corner-stone of the govern-
ment.

" Here probably is the greatest theme that was
ever presented to an artist. We may be now too
near to see its grandeur, its picturesqueness and
poetic beauty. The bard will surely come equal
to this theme and the artist also. It may require
the united efforts of several to work out the kind
of treatment it deserves in monumental form.

" It might be that the architect of the Custom
House Building, which is to be erected on the
other side at Battery Park, could make this the
theme of its decoration. There is no other build-
ing so appropriate for such a treatment, and this
certainly is an opportunity that will not occur
again.

' ' But, as I have said before, it may be destined
for future generations to work out this theme, and
perhaps they can do it the better when we are
old enough as a nation to stand on our own feet
and worship our own ideals."

And again, in another place, he says :

" Before leaving City Hall Park, I want to
speak of the competition instituted last year for
an official flagstaff to be erected here. It made
one's heart sick to see the result of the competi-
tion, which produced eighteen or twenty designs,
all in the rococo style, and only one in theme
having local association or fitness of subject. It
purported to represent the uniting of the five
boroughs into one city. It was not considered
worthy of a prize, I believe.

" We have here a subject, both local and na-
tional in its importance, that is unsurpassed in
the annals of history, and yet all those con-

nected with this competition seem to have ig-
nored or forgotten it. Must I narrate that we
had in New York, just before the Revolution, a
band of patriots, who called themselves Sons of
Liberty, and who kept a liberty pole erected in
City Hall Park as an emblem of the freedom they
were determined to win for themselves and for lis ?

"That four times it was cut down by the
British soldiers and as many times re-erected by
these bold patriots? That in the scuffles that
surged about that liberty pole the first blood was
shed for freedom ?

"That the patriots finally won, and the pole
remained, while the English soldier kept guard
over the peace of the city ? (It was an ideal that
these patriots were ready to live for, to fight for
and to die for.)

"That all this was before Lexington and
before the so-called massacre of Boston ?

"May I ask why did the Mmiicipal Art Society
neglect this picturesque and ideal subject, for a
theme, when instituting the competition, and why
did no artist take it for his motive f

"Alas, I fear it but proves we are as yet in
our artistic swaddli?ig clothes, that we are content
to live on the artistic pap that is dispensed in the
schools of Europe.

" Better no American art at all than that we
should have such degradation, which casts aside
our own national ideals and substitutes foreign
motives utterly vapid. It was not this spirit that
dominated our people from Bunker Hill to York-
town ; that made us supreme on the seas in 1812 and
181 4. ; that gave us heroes at Shiloh and Gettysburg,
and, finally, has added Manila and Santiago.

" I will repeat it, better no American art at all
than that all or any part of this glorious history,
which speaks for the brotherhood and equality of
man, should be cast aside."

FROM CLEVELAND CONVENTION
ADDRESS

We have cleared a continent of its forests,
perfected the use of steam and electricity, built
railroads and canals, established a commerce and
a navy, and with it all have builded a national
character of a higher type and a broader grasp
than has existed before in the history of man.

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113

Therefore we have reason to be proud of being
Americans.

There is nothing to which we have put our
hand and our heart, our intellect and our will,
that has not succeeded. Having attained the
fruition of our hopes as a people in the develop-
ment of material things, we have now in the first
time in our history both the wealth and the
leisure, and I am glad to say the inclination, to
seek some appropriate expression of all these
evidences of national greatness in the art of our
people.

I have had proof of this from the Atlantic to
the Pacific, and I am glad to say it is so general,
for it demonstrates we are on the eve of a great
national development in art.

The World's Fair of Chicago demonstrated
to our people the possibilities that are before them ,
and we are now for the first time since then in a
position to take advantage of them.

Gentlemen of Cleveland, you are to be con-
gratulated that you are ready to lead these
75,000,000 of people in this art movement.

You have here great problems to solve in
selecting designs for and placing so many public
buildings all at one time, which if you solve
them wisely will make Cleveland the model for
the rest of the country, and may create a standard
that all other cities may live up to. It is, of
course, a local question, but in the influence you
may exert you can make it an example for a
nation. I am sure you will prove yourselves
equal to the occasion, as Sons of Ohio always
have done in peace and in war. And you do not
need any one to come from New York to point
you the way.

You ask for examples, precedents which you
may follow for improving the city's plan. I
answer you that there are none, for I believe a
perfectly arranged modern city does not exist —
unless it be Cleveland — because the conditions of
modern civilization are so entirely different from
anything that has been before. What was con-
venient and suitable only ten years ago is now
impossible. By reason of this we must be eman-
cipated from the traditions and customs of the
past and devote ourselves to solving these prob-
lems on their own merits under these new con-
ditions as they exist to-day and with a foresight,
if possible, of what they may become in the gene-
rations to follow.

It requires the imagination of a poet to have a
conception of what the future has in store for us.
When Jules Verne delighted his readers with his
flights of fancy, who then dreamed that such or
similar things could be realized ? And now when
we read the tales of the Arabian Nights some of
the keenness of delight is lost to us because their

wonders are made commonplace by our daily
familiarity with even greater marvels.

Each age has built and planned for itself with
a vision bounded by the life of the individual, or
at most that of the succeeding generation. When
our ancestors settled the Atlantic Coast their
visions of the future were based on their knowl-
edge of their past. Europe was just bursting
the bonds of the feudal system which had created
the walled cities of the Middle Ages. These were
their only models for planning new towns, and
thej' were well adapted to the needs of the new
country because their compactness made them
easy of defence against the Indians. The world
moved more slowly then, but each generation
gave more breadth and space to the newly added
sections. They thought and said that they had
builded for all time, but they could not foresee
the marvellous growth and wonderful develop-
ment of our time.

The radical and progressive spirits are those
who migrate, and when the men of broad ideas
came here to the frontier of the Western Reserve
to struggle with Destiny in creating a new
commonwealth, and when they saw for the first
time the grandeur of Niagara Falls and the great
expanse of these noble lakes and breathed the
free air of these extensive prairies, they were
inspired by the greatness of these natural phe-
nomena to cast aside the traditions of the past,
and so they wisely made the streets of Cleveland
three times wider than was immediately neces-
sary.

The city has now grown up to the expecta-
tions of its founders and the arteries of traffic
are already comfortably filled. The growth of
Chicago, on the other hand, has followed so
closely on the footsteps of the imagination of its
founders that it has tripped them up and buried
them out of sight as having no forecast of the
future.

With this hasty look over the past and per-
haps one dim vision of the future, we may well
ask in the vernacular of the street, " Where are
we at?" and I will add, Whither do we go?
So at last we come right down to the study of
the vital requirements of this problem — how to
place these new monumental buildings so as to
attain the greatest artistic effect and furnish at
the same time the greatest utility. These are
not antagonistic requirements, but are or should
be correlated.

As I have said, the founders of Cleveland
have given you a city admirably well planned,
and it is now for you to prove yourselves worthy
of this inheritance and equal to them in their
forecast of future needs and in devotion to the
highest ideals.

ARCHITECTURAL ANNUAL

In looking this problem over since I came, I
am pleased to say that the sentiment seems in
favor of grouping the public buildings. I can-
not too strongly urge the adoption of this course.
It was a similar treatment of public buildings
that made Athens the wonder of the ancient
world, and it was followed by Rome, Constanti-
nople, Florence, Pisa, Venice, Siena, Milan and
Vienna — all adopted the same centralization.
Paris, London, Berlin and Washington have
only in part come under the same rule, but they
serve to help on the argument.

I learn that you have appointed or are about
to form a Joint Committee from the Chamber of
Commerce and delegates from the various build-
ing commissions. There is no doubt they will
take up the subject in a thorough manner and
with a patriotic spirit and evolve some general
plan that will greatly enhance the already beauti-
ful city of Cleveland.

In looking over the suggestions already made,
there are several that contemplate opening a
space from Superior Street to the lake. This
principle seems desirable, and the one that most
appeals to me is that which extends the present
park or square to the lake and gives a magnifi-
cent vista both ways and makes this the official
entrance to the city. It is already the centre,
and this treatment would make it what the court
of honor was to the World's Fair. So far as I
know there is no other city which has so grand
an approach as this might be made.

In New York the problem we have endeavored
to solve in placing the new public buildings is
much more complex, for it has involved the re-
construction of the city street plan and become
part of the need of new broad avenues to give
access to the entrance to one or more proposed
new bridges across the East River and one across
the Hudson. The narrowness of the average
New York street in the lower part of the city is
the despair of that problem, and the ubiquitous
trolley now demands such space that the only
hope for man on earth seems to require it buried
out of sight. Then comes the disposal of the
arrogant, reckless, irrepressible bicyclist. What
can we do with him ? Bad as all this is for the
New York problem, it is simple straightforward
work if there is enough civic pride to work with.
The average New Yorker does not care a little
bit about improving the city. It is to him only
a place in which to make money. He knows he
is burdened to death with civic taxes already,
and when you talk about opening new streets
through property the ground value of which
alone he computes by the square foot, he knows
you are clear stark mad.

Now, in closing, I want to say a word for the

commercial value of art or the investment value
of artistic improvements. The interest on the
national debt of Italy is $90,000,000 in round
numbers. The travelling English leave them
$30,000,000, the travelling Americans $30,000,000,
and the travellers of other countries $30,000,000.

And why do they go there? Almost entirely
because of the arts of Italy, for there is little else
to attract so many people as to pay the interest
on the national debt. Take the same facts in
detail. Turin was once the capital of Italy and
was rebuilt in modern vulgar magnificence. Its
life depended upon its being the capital. That
removed, the town languished ; grass grows now
in the streets, and when an unlucky traveller
finds himself in Turin, as I did one day, his only
desire is for a train to take him hence.

Following Turin, Florence was the modern
capital of Italy and from thence it moved to
Rome, but Florence suffered little by the loss, for
it was just as attractive to the foreigners who
flock there for long and short visits. This is be-
cause Florence is a very gem of Renaissance and
ancient art. I venture to say that if you will
sum up the cost or the cash value of every work
of art and public building in Florence you will
find that the foreigners leave them annually a
handsome interest on that sum so invested, if I
may use the word.

Turning now to France, we find she has great
credit for generosity in extending the same privi-
leges to foreigners as are enjoyed by the French
in the art, medical and scientific schools, except-
ing, of course, the Roman scholarship. When I
was there in 1888 there were 250 American art
students and about as many more from all other
countries. These 500 students expended not less
than $500 per year to live (and that is a low
estimate), which amounts to $250,000 a year.
The cost of maintaining the Ecole des Beaux- Arts,
including the Envois to Rome, was that year
$91,640. Call it $100,000 for round numbers,
and it leaves a balance of $150,000. I am sorry
I do not know the value of the buildings, but as
I remember them I should say that $400,000
would be a generous appraisement. No matter,
$150,000 income is 10 per cent, on $1,500,000, or
5 per cent, on $3,000,000. In plain English,
then, France educates foreign art students free of
cost, but in so doing they bring to France
enough money annually to not only educate
themselves, but the French boys as well, and leave
a handsome surplus besides. It maybe said that
this is only very indirectly, but I reply that it is
true ; yet there is no item in the balance of trade
to offset it. They buy nothing that they take out
of France other than their education. The
French produce everything they sell them, so

ARCHITECTURAL ANNUAL

1 15

that the money stays there as part of the income
of the French people, jnst as the $90,000,000
does that travellers leave in Italy every year.

In the same way Switzerland, which has a
population of only 3,000,000, about that of New
York City and surroundings, had last year as
guests 2,300,000 people. These foreigners left
them about $24,000,000 in the hotels and $6,000,-
000 for souvenirs. This income is due principally
to their good roads, and next to the good hotels,
which make the natural advantages of beautiful
scenery accessible and sought for by all the
world. This yearly income of $30,000,000 is
nearly three times the national debt, which is
only $u,ooo,oco, and one-half of the national
and cantonal debt added, which is $61,000,000.

Several years ago the President of the Ameri-
can Line told me that during the four months of
summer of that year it was estimated that our trav-
elling Americans took to Europe $7 5, 000, 000 cash.
A recent estimate of our European foreign travel
of last year is put at 200,730 adults, and they
are estimated to have spent there $125,000,000.

The interest on our national debt is $51,000,-
000, so our travellers take to Europe two and a
half times the interest on our national debt. To
offset this there is the small item of 35,000
tourists in this country from Europe who bring
us a credit of perhaps $i7,oo.),ooo. This great
European travel is due largely to the arts and
monuments of Europe, but of course it is not
right to attribute all of it to this cause ; yet they
are the things that the travellers and students go

there to see and stud}-. Napoleon knew the
value of art, for wherever his victorious armies
went they gathered up the art treasures and took
them to Paris, and in the peace that followed
Waterloo some of them were restored to their
original owners, but most of them remain in the
Louvre as the greatest collection in the world.

When Paris was about to fall into the hands
of the Germans in 1870, it was the great treasure
of that collection, the Venus de Milo, that was
buried in the courtyard, where only the trusted
few knew of its resting place.

In our war with Spain, we humiliated her by
taking her colonies, but fancy her state of mind
if we had also demanded the contents of the
Madrid gallery. Would Spain have submitted
to this disgrace ?

The cost of the Congressional Library build-
ing was $6,032,000, but only about $400,000 was
expended on' the artistic decoration, which is 7
per cent. Am I not safe in saying that 90 per
cent, of the interest for the public is centered in
these decorations which cost only 7 per cent, of
the total ?

So, in considering the plans and the placing
of your public buildings, bear these facts in mind
and be assured that a wise, yet to some minds a
lavish, expenditure of money for these monu-
mental buildings is the best-paying investment
for every citizen of Cleveland. Your children
and grandchildren will bless you for demonstrat-
ing that the best is none too good when creating
the ideals of a noble and liberty-loving people.

DECORATIVE SPANDREL ON
THE CONDICT BUILDING

NEW YORK

LOUIS H. SULLIVAN AND
LYNDON P. SMITH

ASSOCIATE ARCHITECTS

INDIAN CHIEF— CORNING FOUNTAIN, HARTFORD, CONN.

I. MASSEY RHIND, SC.

FIGHTING INDIAN— CORNING FOUNTAIN, HARTFORD, CONN.

J. MASSEY RHIND, SC.

IN America, startling innovations have become
so characteristically the order of the day
that their novelty usually departs before all
the results are accomplished. We have become
so used to a constant anticipation of the next
thing that its arrival seems merely a matter of
course. Not so with the more vital movements
toward the improvement of civilization. Though
we may lose for a moment the remembrance of
the first gleam of a new light, its effect, whether
for good or bad, remains on the retina of the
mind long after the primal cause has been re-
moved. It sinks into the nature of our being,
and resolves itself into an instinctive impulse in
a better direction.

The memory of the Cleveland Convention
has not faded from the minds of those who at-
tended. In all probability it has been forgotten
by some who saw it announced and praised so
frequently last June, but its results, its influ-
ences, its accomplishments affected the profes-
sion, and demonstrated to the public the archi-
tect's desire to work along practical lines for the
improvement of his locality. What the Conven-
tion meant to those who were there will be
sufficiently evidenced by the attendance at the
approaching convention in Chicago.

The Cleveland Convention was called in re-
sponse to a general desire on the part of progres-
sive architectural clubs to profit by the experi-
ence of other architectural clubs, to co-ordinate
the work of the many and secure the benefits of
co-operation. That the results far exceeded the
causes is beyond question, but the causes them-
selves were great.

In December, 1898, the St. Louis Architec-
tural Club centered attention in the need of
co-operation between the scattered exhibition
committees, and, upon this suggestion, the Chi-
cago architectural clubs issued a call for a con-
vention at Cleveland. Ninety-seven delegates

responded, and registered as representatives of
the Architectural League and the Society of
Beaux Arts Architects, of New York, the archi-
tectural clubs of Chicago, Philadelphia, St. Louis,
Boston, Cleveland, Detroit, Pittsburg and To-
ronto, and the Illinois, Pittsburg and Cleveland
Chapters of the American Institute of Architects.

The welcome of the city was offered the
Convention by Mr. Albert E. Skeel, President
Cleveland Architectural Club, and was re-
sponded to by Mr. J. C. Llewellyn, President
Chicago Architectural Club, who was elected
Chairman of the Convention ; Mr. N. Max
Dunning, of Chicago, was made Secretary.
"Club Organization and Management" was
the first paper on the program, and was well
presented by Mr. Adin B. Lacey, President of
the T-Square Club, Philadelphia. He spoke of
its formation, dues, requirements for admission,
attendance, prizes, decisions and scholarships,
relations to the city and to architectural schools,
and finally its successful growth under the man-
agement of an executive committee. Then were
given reviews of work in architectural clubs of
other cities, with discussion upon the subject by
the entire Convention.

"The Annual Exhibition" was the title of
the next paper, by Mr. Henry W. Tomlinson,
of Chicago. The points suggested were the im-
portance of the yearly exhibition as a record of
the year's work, the needed elements of dignity
and excellence, attention to needs of the imme-
diate vicinity, publicity by press and by invita-
tion, technicalities of packing exhibits, and the
publication of a catalogue. Discussion followed,
which resulted in the appointment of a commit-
tee to arrange a schedule of consecutive exhi-
bitions.

Mr. Julius F. Harder, of New York, read a
paper advocating ' ' A Code to Govern Competi-
tions in Design," and the form drawn up by the

ARCHITECTURAL ANNUAL

119

joint committee of the Architectural League of
New York and the T-Square Club of Philadel-
phia, and approved by these organizations over a
year ago, was accepted by the Convention and
recommended to the consideration of the several
clubs. This ended the business of the morning,
and the afternoon was spent in tally-ho drives
through the city parks as guests of the Cleveland
Club.

Mr. Bush-Brown's lecture at the Chamber of
Commerce on the " Grouping of Public Build-
ings ' ' occupied the evening.

"You ask for examples, precedents which
you may follow for improving the city's plan.
I answer you that there are none, for I believe a
perfectly arranged modern city does not exist —
unless it be Cleveland — because the conditions of
modern civilization are so entirely different from
anything that has been before. What was con-
venient and suitable only ten years ago is now
impossible. By reason of this we must be
emancipated from the traditions and customs of
the past and devote ourselves to solving these
problems on their own merits under these new
conditions as they exist to-day and with a fore-
sight, if possible, of what they may become in
the generations to follow.

' ' It requires the imagination of a poet to
have a conception of what the future has in store
for us. When Jules Verne delighted his readers
with his flights of fancy, who then dreamed that
such or similar things could be realized ? And
now when we read the Tales of the Arabian
Nights some of the keenness of delight is lost to
us because their wonders are made commonplace
by our daily familiarity with even greater mar-
vels."

Such were characteristic paragraphs of this
pertinent lecture. Statistics were not wanting
to prove the utility of grouping a city's public
buildings. The material value of art was demon-
strated by numerous examples, and Mr. Bush-
Brown's deductions were that ' ' a wise, yet to some
minds a lavish, expenditure of money for these
monumental buildings is the best-paying invest-
ment for every citizen."

' The Architectural Society and its Progres-
sive Influence ' ' was the first paper of the follow-
ing day. The speaker dwelt upon the necessity
to advance ' ' American architecture as opposed to
architecture in America, ' ' as Mr. Ernest Flagg has
so well put it. He called attention to the desire
of the people for an architecture that ' ' reflects
their own lives and local achievements, ... an
indigenous architecture having its corner-stone
laid down deep in the popular heart. For," he
went on to prove, ' ' there is a neglected factor in
our architecture which must be cultivated before

architecture in the United States can mean much
to our people."

' ' A well-defined ideal ' ' was held to be a
necessary element of either the architectural club
or a federation of societies. It was the expressed
belief of the speaker that a stand should be made
against "obsolete affections in architectural de-
sign," and that the Architectural Society has the
opportunity to bring about the remedy. The
discussion that followed emphasized the speaker's
point, as did also the " Modern Phase of Architec-
ture," a paper by Mr. Louis H. Sullivan, read by
the Secretary of the Convention. Expressions ol
regret at inability to be present at the Convention
were received from numerous practising architects,
professors and draughtsmen, scattered over the
whole country.

In the afternoon, Mr. Peter B. Wright, Secre-
tary of the Illinois State Board of Examining
Architects, read a paper on "The Operation ot
the Illinois License Law." This set forth the
manner of examining applicants, the success ot
the License Law to the present date, and its bene-
ficial effect on the profession and the security of
buildings. Discussion developed several more
points regarding the punishment of offenders, and
with resolutions of thanks to the Convention offi-
cers, the Cleveland Associated Press and the
Cleveland Architectural Club, the Convention
closed its business session.

The following extracts from some of the let-
ters and papers presented at the congress will be
of interest, as they express a prevailing sentiment
among the delegates which the committee felt it
necessary to embody as one of the objects of the
organization in the constitution which was after-
ward unanimously adopted, viz. , Article II :

' ' To encourage an indigenous and inventive
architecture, and to lead architectural thought to
modern sources of inspiration."

Louis H. Sullivan (Chicago):

" The Cleveland meeting of the architectural
clubs of the country will mark, I believe, the aus-
picious opening of a new era in the growth of
architectural thought "... (published in
full elsewhere).

Mr. Edwin Henri Oliver (New Orleans):

" Why is it, then, that we are so fond of mas-
querading in the cast-off garments of the past,
and care so little for creating an architecture that
is natural to ourselves ?

If the office of the architect is hospitable to
modern influences, there must be a revolution.
The result of this revolution will constitute the
style of the twentieth century.

"It is pathetic to pass over the South and
see towns of twenty thousand or more energetic,
hospitable and enterprising people with houses

120

ARCHITECTURAL ANNUAL

and other private and public buildings built in
what is miscalled the " modern style," in distinc-
tion from the Colonial, but not one of these will be
found to be really good, grammatically constructed
or conceived in a spirit of subordination to any
type of art. They are carelessly compounded of
exotic and heterogeneous elements, and so far as
their decorative or architectural character is con-
cerned, there is no expression of climatic or other
natural conditions in them.

" The architecture of the South at the present
time is anything else than indigenous. Most of
the buildings recently built in the Sunny South
are modelled after those of the Northern cities,
with a lack of fitness that is surprising. The
undisciplined invention of architectural forms
which is so general produces many travesties of
art ; and the fact that none of the experiments at
style give such permanent satisfaction as to cause
a continuance, but that they are succeeded by new
experiments of illiterate fancy — these things seem
to indicate a general desire for a more orderly
system of design that will be in touch with the
climatic and social conditions of the people ; a
style that is broad and generous, plain and tem-
perate, a style that may in all truth and lightness
of heart be called Southern."

Dwight Heald Perkins, of Chicago :

"Without discredit to the expressions of peo-
ple of other times, let us draw our inspiration from
the common people whom Abraham Lincoln
could trust, from the things that live around us,
and let this expression develop and evolve in the
best way possible and we will be all right. ' '

This from Elmer Grey, of Milwaukee :

" Thought is what we want, on every piece
of work, however humble. Thought, the idea
that what is worth doing at all is worth doing
well. In every commission that arises, however
unpretentious, that question asked, ' Do our
scholastic principles hold here ? or even do those
methods which are ours by right of growth apply ?'

"What, from a man's point of view, from
the standpoint of culture, refinement, large sanity
and every-day common sense, ought to be the
treatment of each individual opportunity offered
us ? And in asking that question, can we be un-
affected, can we be sane, can we be thoroughly
unbiased, when ever in danger of having crop
up before us, presumptuously it seems to me, that
ever- recurring word ' style ? ' Rather, is not
what we want greater insistence upon those
patient methods, honored by time's approval,
which have ever and will ever make for style ? "

This from Claud Fayette Bragdon, of Roches-
ter, N. Y. :

"Our contemporary architecture, in so far
as we may be said to have any, shows a lack of
forethought, and a poverty of the creative imagi-
native faculty.

" What are Karnak, the Parthenon, and
Saint Peter's, Rome, but the day dreams of a
nation or of an individual built in stone ? If we
have ceased to build beautifully it is simply be-
cause we have ceased to dream beautiful dreams."

George R. Dean (Chicago) :

"I believe in evolution, and I believe that
our architecture is going through an evolution.
In speaking of the advancement of any one man,
it seems to me we have just as much right to use
what he has found out as we have to go back to
ancient times and use what they found out. It
seems to me if we have no inspiration of our own,
if we will take our inspiration from the best
things done at the present time, and always put
what little mind we have at that and increase it
a little, then the next man will take that and in-
crease it a little more ; you will soon develop a
good style. ' '

The evening was spent at the rooms of the
Century Club, situated on the fifteenth floor of the
New England Building, where a reception and ban-
quet was tendered the delegates. Mr. Herbert B.
Briggs, of Cleveland, acted as toastmaster, and
called for the following toasts : " Welcome," by
Mr. Benjamin S. Hubbell, of Cleveland, re-
sponse being made by the new president ; ' ' What
We Gain by Concerted Movement," Mr. William
B. Ittner, of St. Louis; "Reciprocity between
Architectural Clubs and Architectural Publica-
tions," Mr. Irving T. Guild, of Boston ; "The
Architectural School from an Architect's Stand-
point," Mr. George R. Dean, of Chicago.

Such is a brief summary of the events of the
Cleveland Convention. It conveys only a partial
impression of the deep-rooted principles that
made this body of men unite and decide to con-
tinue as a united body. When the Convention
was called, little expectation existed of the archi-
tects and draughtsmen there gathered ever form-
ing themselves into the Architectural League of
America. But so many wrongs were discovered
that needed righting and so many opportunities
were offered to establish the right before the
wrong crept in, that the Convention took "the
flood of destinies " at its ebb. The Architectural
League of America is now a national organiza-
tion, with a definite purpose. The energy and
vigor that characterized the Cleveland Conven-
tion will exist in just as large a measure at the
Chicago Convention, and will keep alive the
spirit of the organization through future years.

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*HIS is written of
the work of a man
yet young who,
although a Philadelphian by descent, was born in
Florence and passed his boyhood there. The sug-
gestions of her past greatness seem to have
infused in him a romanticism of her own, for he
looks at manjr things in the old way ; he is a poet,
a dreamer of dreams, quoting forgotten ballads
and quaint madrigals. Devoted to the fine arts,
his recreation is in sketching and painting, and
his leisure given to reading and the company of
artists. He is a polished Bohemian, a man of the
world ; a charming after-dinner companion who
can sing Italian opera or describe the quiet life
with an exquisite charm. In his manner he is
thoughtful and reserved, and really known only to
his intimates, though there is a personal magnet-
ism about him, so that those who work under him
are ever loyal to him. He is a willing critic and
has influenced, unawares, the group of architects
who are his contemporaries. These are the men
who founded the T-Square Club some fifteen years
ago for the betterment of local architecture, and in
influence and in interest he was not the least
among them. To enter into the spirit of his work
it is necessary to go back to the times when
such a thing as Art was unheard of in the sense
in which we use it.

In the years long gone by, when the Dark
Ages were slowly yielding to the influence of
the medieval learning, when men were still sim-
ple-minded and open in the expression of what
they felt, there existed certain priories and abbeys
where, sheltered from the world without, men
passed their lives in peaceful reveries, uplifted by
the majesty and beauty of what their predeces-
sors had left them. The dignity of the cloisters
and cathedral churches breathed into their uncon-

scious minds the instinct
of knowing what is good
and right in art ; the in-
stinct whose rare manifestation to-day is called
"taste," or, by the painters, "sympathy" and
"feeling." It is not knowledge, but, being in-
tuitive, it is deeper than knowledge ; guiding in
unfamiliar and untrodden fields of work, where
knowledge, which is akin to remembrance and
made up of learning and experience, must fail.
The instinct is creative and imaginative ; it leads
as surely in great things as in little, and in little
things as in great ; without it nothing noble and
lasting can be conceived, and with its guidance
anything made, be it high or humble, is beautiful
and fitted to its purpose.

So when these men worked together in the
shade of the cloisters, their illuminations and
their lettering were naturally beautiful, for they
did merely as suggested by this imagining in-
stinct, which in its nature was good and could
not be wrong. In all their work they were led
by it in trivial things, such as the shaping of
their cowls ; but perhaps it was shown greatest of
all when, under the lead of some building bishop
or prior, they put aside their vellum to work in
graystone. They did their best, and their work
lives to-day to the wonder and the shame of men
who study it long and earnestly, then go hope-
lessly away knowing that, though all knowledge
be theirs, still something is lacking, and this is
the instinct.

In these days of business distractions and
mercenary surroundings it is a rare gift and dif-
ficult to develop even though one be born with it,
for lack of beauty starves it and hideous things
are agonizing to it. The unworthy around must
be forgotten and the good only studied. The
difficulties of this are evident. Architectural

WILSON EYRE, JR.

124

ARCHITECTURAL ANNUAL

Sfe

learning may be attained
and it exists in plenty,
but a scholar, after all,
is nothing more than a
skilful copyist. He may
know all the conventions
and may be so ingenious
that he can answer archi-
tectural problems never
before heard of; he may
be original and know the
power of combinations,
but unless the instinct
guide him his work is
dry and lifeless. Doubt-
less scholarship prevents
him from doing things
unsuited to their use,
and, moreover, his work
" may be dignified, coher-
i ent and organic, and

ill'

may uc >ai&"— — > ■

ent and organic, and admire and praiSe it;

may candidly express its P^^^^fessed even to himself, his
but at the same time deep wrinn him, ^ ^^ of architecture,

soul aches, for sue h work is sp ritrng- ^ ^ the imagi-

of much use in its place, for its firmness a ^ ^ sdf.sufficien ,

TZ^^^^^^ ^ needless, and this charlatan,
•*£:££ f & and ithas ^any decree, th^an^ shall the
spirit of a library be expressed to^j ^ ^ ^.^

hPall, a school and the like untd the ™£ architecture must dis-

Restrained by these set rules fresh and SP° and tiresome, will

appear and a self-laudatory «^™^£™nt EngHsh Palladianism in
replace it as self-satisfied as the driest de ^ ^ they

"the Grand Manner," whose^deS^S and posterity that architecture was
were enabled "to convince ^ £f ^ in the eighteenth

brought to as great a point of P^ ™ * * and Romans,>

eentury as ever it was known to be among _ and accordi gly lts

So at this time the guid *gjnst£c -t and freedom there is pro-

I presence should be acknowled ged I o*b P Y ^ and wildness on

faction against the rigidity *^*%%£ buildings of the past are inspir-
!! the other, for its example is m spinng a >** £ ^ {nQnenceA by an

1 ing. Therefore here is reproduced thewji problems of

bJtinct such as actuated the men ^^J ^ ^ M ,

S the present. It is *« **/^ ' \ differs from the general work of
purity to the work of Wilson **«■ nality and character. The

?o-day in that it is a distinct expre sion of a person tj ^ ^^ to ^
science of design is quite fs«b^na^uXut it there is a rare refinement
i detriment of his work ; but «stead thro^gbou t ^ ^.^ every.

I and ingenuous "^^J^ owTtohts ornament, his sketches, his
;! I thing from his greatest ar ^tecture dovm to arrangement and the

lettering, the borders of his drawing^ and e ^ ^ ^ ^ .^.^ for
placing of their titles on the : paper, l everything without exception

if it be in a man's nature it must show y ^ .f it

down to the least unimportant deta L Kcan ^ ^ ^ The full

at all it must be part of a man himse f' ^c g and he is conscious of

F£^^%^^ of himself when he save *

*££»

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DRAWN FROM IMAGINATION

DRAWN FROM NATURE

SKETCHES IN PHILADELPHIA AND PISA

126

ARCHITECTURAL ANNUAL

to a client, for it is beyond most men's comprehension and he is duly appreciated
by few but the architects themselves. His aspiration is not to make a stir in the
world, but to do what he does worthily. Recently a Western exhibition committee
wrote to him, asking if he would send them " some of his most important work."
He replied that to him important work was " artistic work ; " but their idea of it
was " large work," and he had none to send them at the time.

Everything pertaining to his buildings is well considered and studied, for, besides
all of his preliminary sketches for the working drawings, most of his decorative
detail is made personally and not through draughtsmen. It is rather the intrinsic
interest of a thing that appeals to him and not so much its consequence. Notice
these two panels and his drawings for leaded glass. In their originality they show
his interest in what he did and also the power of his doing. It seems a sacrilege to
turn them over to the interpretation of a tradesman ; but the finished work retains
somewhat of the original spirit, so the care is not altogether in vain. He works
as the old painters worked who found it not beneath them to make woodcuts or
hammer metal ornaments. Notwithstanding the ease with which these details are
drawn, there is concentrated thought in the designing, but the thought is led by
the intuition and not by the reason.

The preliminary sketches of his buildings show his deepest thought. Though
the drawings themselves are so hastily made, they represent tracing after tracing
through hours spent in study of the architectural composition. He is a believer in
thorough study and urges it as one of the requisites of all good things, scorning the
happy-go-lucky even in "picturesque" architecture, as the following quotation
shows. In'an article on a recent sketching trip through England, referring to their

"long rambling farmhouses
and country houses of the
modest kind," he writes:
' ' There is much to be gained
froni studying these for use in
our own domestic architecture.
Their average work is so much
less pretentious, so much more
homelike than ours ; their sur-
roundings are studied so care-
fully, the garden forming as
much a part of the house as
the roof, and great pains being
taken that the garden-wall
hedges, terraces, the little tea
houses, in fact, all the immedi-
ate surroundings should form
a harmonious effect." And
later he writes of the "com-
pleteness and fitness of the
country houses and the farm-
houses and of their surround-
ings, their 'flocks of gables,'
the grouping and composition
which through the most care-
ful study arrives at the entire-
ly unstudied and haphazard
effect."

Again, he mentions "the
impression produced that the
building belongs to the spot
upon which it is built and
to no other. This is what
makes the English domestic

Mi?€

Q
D

ARCHITECTURAL ANNUAL

129

work better, to my mind, than any I have seen."
That suggests something in his own work per-
haps most admirable of all its qualities. His
buildings fit their particular places as if they
had been there from the beginning. The earth
seems to acknowledge their presence in little
formal gardens fitted with shrubbery and straight
walks, and in groups of trees protecting them
from the north wind. As Wilson Eyre designs
he is in imagination out in the open air and
where the building is to be as truly as the old
monkish and Gothic builders stood by their own
cathedrals. The place inspires him as theirs did
them, and for this reason his work is spontaneous
and delightful to see. The little sketchings of
men, of trees, grass or birds, or of distant hills
show the whereabouts of his thoughts, and by
these little notes he keeps his mind intent upon
the surroundings of his future work. What at
first glance may seem irrelevant is really the
evidence of his strong sympathy for the locality.

These sketchings are on the earliest pre-
liminaty scribbles. They set a key for his
thoughts and his design is planned in harmony.
The drawings are records of these thoughts
and they show the spirit of the future building.
Notice how one house fits with the long hori-
zontal lines of the sea and the sand ; how
another is as distinctly in keeping with the rocks
and the deep pine woods about it. Then notice
the old man, long-robed and bent, in the garden
by the hospital. His figure typifies the calm and
quiet dignity of the hospital itself. There is no
wonder that the surroundings and the figures
shown are relevant ; for the buildings are more
drawn from them than they are from the build-
ings.

These keynotes are not given up until the
very last. The working drawings were traced
from those of the panelled interiors ; only, of
course, the draughtsman omitted the woman by
the mantel, the maid in the doorway and the

130

ARCHITECTURAL ANNUAL

vases and jugs about ; the specifications and
future directions took care of the paint and the
wall-paper. Often he goes thoroughly into
these details, even to determining the exact posi-
tion, size and color of the vases on the mantels
or bookcases, and somehow the owners place
them as he directs, and keep them there.

As has been said, the preliminary sketches
here published are records of his study on the
problems. They are typical of his usual work,

None of these are accessories. They were studied
together from the beginning, and are part of the
scheme itself.

Such a way of working makes possible in his
buildings their soft color in harmony with their
surroundings, and their contrasts of texture ; in
these two qualities lies much of the charm of his
work. His color is almost invariably good. It
is useless to say much on this subject, of such
primary and nevertheless unrecognized import-
ance in architecture, for colors are impossible to
describe and unfortunately reproductions cannot
show them. Suffice it to say that his preference
is rather for depth and quietness than for brilliant
contrasts. External painted color- decoration he
rarely uses, but an exception, and a successful
one, is the Turkish Baths building on Walnut
Street, where the pinky-brown sandstone is
touched with gilding, echoed in the gilded

not so much show drawings for others as they
are for his own guidance in making the working
drawings. Besides the architecture of the build-
ings, see how much is shown in these sketches for
country houses in the following pages; the paths
and terraces, the distribution and massing of the
foliage, the walls and gateways, with their
accents ; the materials of construction, with their
colors and their textures in contrast with those
of" the grass and foliage and the depth of the air.

"Bvildh'tigfor

132

ARCHITECTURAL ANNUAL

window-frames. As to his textures, though^he
uses every-day materials, his range seems bound-
less, for he widens his brick -joints as he pleases,
(as in the Borie Bank), he uses moulded bricks
projecting in little points (as in the band under
the cornice of the hospital), or with ends moulded
into little checker squares ; bricks laid diagonally
or in diapers and different patterns ; shingles in

various shapes and laid in various manners (as
in the little chicken-house below), or two and
three deep with butts together to give great pro-
jection and in this way roughness (as in the
house in the woods), and many other combina-
tions and arrangements, so that with the simplest
materials he can produce the effect of texture he
wishes. Limestone gives him many, as in his
peculiar rustications or in the light and shade of
his broad carved ribbons. As every drawing
shows, texture has an absorbing interest for him.
It is difficult to write of the architectural
" style " of his buildings, for they are so strong a
reflection of his personality that their resem-
blance to any historic style is quite secondary.
At times the influence of the early Tuscan and
Lombard can be detected ; sometimes the roof-
composition of the Normandy farmhouses ; but
principally, and especially in his later domestic
work, the English Renaissance is most promi-

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HOUSE AND STABLE AT LANSDOWNE, PA.

136

ARCHITECTURAL ANNUAL

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nent, still with an Italian character in the decora-
tions. His buildings show everywhere his ideal-
ism and his innate gentility and refinement and
his unerring instinct in matters of art. Some-
times there is a deep melancholy about them, but
never an approach to coarseness or vulgarity.
However, it must be acknowledged that his work
is not always practical and suited to its uses, and
sometimes it seems rather affected ; for instance,
in his occasional use of half- timber or in his
terminating a city facade with a wooden Italian
cornice or a steep gable when there is of necessity
a flat roof behind it. Then at times it seems
medieval and altogether anachronistic and inex-

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ALTERNATIVE PRELIMINARY SKETCHES

ALTERATION TO AN OLD HOUSE

.38

ARCHITECTURAL ANNUAL

pressive of the age — a modern coat and hat seem
quite out of place nearby. These faults, though,
are confined almost entirely to his earlier
buildings. His work naturally classifies itself
into two divisions— the early, from the beginning
of his practice in 1880 until about eight or ten
years ago, and the later, from that time until
now. The late work is broader, richer, mel-
lower ; it has a simplicity, a boldness and a vigor
which the earlier lacks. This is, on the contrary,
more delicate — sometimes even finical and effemi-
nate with all its grace and purity ; an architec-
ture of fine cut limestone mouldings, of brown
pressed brick and exquisite terra-cotta modelling ;
of pebble-dash and occasional plaster decoration ;
of quaint doorways and tiny oriels.

This early work was undeniably beautiful,
but it was prone to two faults ; it was apt to be
unsubstantial and absurdly small in scale. A
certain one of these early houses, which was
situated on a narrow city lot in Philadelphia,
and which had two little oriels on the second
story, served as a mark for the good-humored
ridicule of a magazine writer. He represented
Pater Familias contentedly seated in his arm-
chair, smoking and reading his Sunday paper,
while one of his feet rested comfortably on the

sill of each of the oriels ! This was no exagger-
ation as to scale, and it was partly the diminu-
tiveness which left his early work open to criti-
cisms of affectation and artificiality. In the same
house, between the aforesaid oriels, was a certain
plaster bambino. He was evidently discontented
with his position in life, for he would periodically
come tumbling out of it, not all at once, but by in-
stallments, an arm or leg at a time, to the utter
dismay and astonishment of honest folk passing
beneath. The remaining parts of him were
pathetic, but the owners did not look at it that
way. It became a standing joke about the house ;
but finally the bambino must have been gathered
to his fathers, for now only a fragment of ribbon
and a scar on the wall remain to tell the tale.
However, these are but the shortcomings of
his early work, and they give an unfair idea of it.
In reality its better qualities had a strong influ-
ence on the local architecture of the time in the
direction of refinement and careful and sparing
use of ornament. Its tendency was towards
rather pictorial composition and its general effect
is of irregularity and sudden variation, but with
a perfect placing and proportion of the parts so
that there is a quiet and restfulness through it
all. There is a certain Gothic character in the
contrast of the broad, simple wall-spaces to the
concentration of the carving. Taken as a whole,
it shows the strength and clearness of his instinct ;
for despising every convention and trusting to his
own originality, he produced work which was dis-
tinctly good and successful in the main. The
schemes of some of his compositions seem irra-
tional, yet, when built, they are not discordant.
In the twin doorways notice the great square
windows coming so close to the pointed arches,
yet not unpleasantly, despite their size. Then
notice the other doorway on the same street ;
there are several totally different elements, yet
without confusion. In the Turkish Baths door-'
way he has deliberately piled one arch above
another, and, throughout all of his old work,
there exist these strange freaks, although they

ENTRANCE TO THE HARRISON PAINT WORKS

LOWER STORY OF A CITY HOUSE

FULL-SIZE DETAIL DRAWINGS

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are so refined that their capriciousness is for-
gotten.

Now this early work is of most interest, not
for itself alone, but because it made possible the
greater work which was to follow. In the early,
he developed and learned to trust his instinctive
judgment, so in his later, broader years, he might
take what he wished from the classics and yet
was free to overthrow precedent when it tempted
him to do otherwise than he desired. Through
his experiments he had seen the true inwardness
of styles, and why things harmonized and went
together, so he was unrestrained by their historic
limitations and could combine them and do with
them what seemed to him fitting. Notice, in the
following garden houses, how Jacobean gables and
Pompeiian columns are combined, and Italian gate-

ways, and yet how they are all in harmony with
each other and not discordant with the modern
glass greenhouses. Then this interior ; it seems
at first as Georgian or Colonial, but such an en-
tablature was simple and dignified, and the un-
usualness is forgotten. As an example of his
unrestraint in composition, look at the long,

ARCHITECTURAL ANNUAL

narrow window in the front of the Borie Bank.
Precedent and training would say it were entirely
unsuited to the place and would clash violently
with the windows at the side ; but somehow it
seems right as it is. This freedom is inspiriting,
and shows that architecture is not a dead art
after all ; that without affectation a man can
give to what he does his personality, so that the
same spirit is throughout his work, and it is
different from that done in past times.

The buildings with which Wilson Eyre is
perhaps the most successful, and those with which
his name is everywhere associated, are his
country houses. They are long and rather low,
sometimes with the simplicity of our own old

Pennsylvania farmhouses, or the first of New
England, but generally with an English charac-
ter, after all, not far different. In planning they
are interesting in the way they are adapted to
their sites and to the compositions desired, and
in their freedom from undue conventionality.
Axes are never forced, but considered only where
they occur naturally ; on the other hand, his
plans are seldom confused, and in his later work
particularly have a certain symmetry and balance
quite their own. Both the main part and the
wings are narrow, and so open to the air and sun-
shine, for the square, compact type of house he

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ARCHITECTURAL ANNUAL

rather avoids. The entrance and garden fronts
are never intruded upon by the kitchen wing and
offices. As to the porches, their management is
often quite original ; for instance, in the house
on Long Island, a narrow porch projects far out
from the end of the building along the sea, so
that the summer winds can blow through it un-
hindered.

In the external composition the roofs are of
great importance, and their character largely
gives the individuality to his houses. In his later
work the roof is generally gabled, and as far
as practicable kept unbroken by dormers. The
long roof over the main part always predominates
over the lower roofs of the wings which butt
against it somewhere below the ridge, for he has
a theory that two ridges should never intersect
on the same level. The roofs of the porches,
lean-tos and outbuildings (and there are many of
them) are relied upon to lead the attention un-
consciously down from the higher roofs to the
terraces and gardens, and perhaps therein lies
much of the homeliness and peace of his compo-
sitions. Then something of the quiet seems in
the windows placed far apart, leaving broad wall-
space between. He reasons that this is quite
practical, for since heavy curtains are generally
used, if there are many windows, fewer windows
without them are just as serviceable. The light
and air are as free, and they are architecturally
better. It is characteristic of his country houses
that they compose well, viewed from any direction.
There is no false straining after an effect, and
they honestly express what they are. As the
roofs are simple and straightforward, and never
falsified with decks, they would even stand the
test of being seen from above — after all, a true
test of honest composition, but unfortunately
many country houses could not undergo it.

163
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His gardens — for his study does not stop with
the house, but extends to the terraces and gar-
dens— like most of his country houses, have a
quaint English formalism, not overartificial, and
never with the mechanical formalism of the
French gardens, for which he has a contempt.

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These reproductions show the charm of their
privacy and seclusion. Some time ago, writing
of gardening, he said: "It appears as if the
English influence were gaining ground rapidly
in our country ; and it seems to me far more
suitable than the Italian influence, which is too
southern in its nature to suit either our national
temperament or climate." As to the other sur-
roundings and the placing of the house, in the

164

ARCHITECTURAL ANNUAL

114

article just quoted, he said : " We are approach-
ing the English methods every day, and we are
not as anxious to see and be seen . . . We
are beginning to feel that if we want beauty com-
bined with privacy we must hedge ourselves to
a certain extent and beautify our immediate
surroundings. Beyond these, again, we have
glimpses of the extended view, the beauty of
which is, perhaps, enhanced by not being quite
so evident. Besides, we often tire of an extended
view, and come to care for our garden more and
more ; this latter has its limit, and, with its high
hedge or wall surrounding it, gives the feeling of
protection and retirement."

The place where Wilson Eyre works has a
character of its own. A doorway from some
Colonial house serves as the entrance, and when
it is passed the business building is forgotten in
the drawings and casts and photographs about.
His office is not large, nor does he wish it to be
so. He desires to have only as much work as he
can personally design and study over to his satis-
faction, for he regards architecture more as an art
than as a money-making business. He generally
gives the work his own superintendence, often
deciding details and questions of color during the
actual building. In this connection there are a
few absurd stories told of him, such as that of
painting the porch columns of a certain country
house. This story is doubtless entirely fiction from
beginning to end, but none the less ludicrous for
that. It appears that one morning the painter

came to him to get directions for the color. He
was told to use his own judgment, and put on
different shades, which he considered suitable,
until Wilson Eyre himself could come out and
select the one he wished, for he intended to come
out that afternoon. So the painter departed. In
the office the matter was overlooked entirely, and
several days passed. Meanwhile the painter was
doing his best. Presently a letter arrived from
the horrified owner bearing the news that the
eleven columns of his porch were now eleven
different colors, and imploring some one to come
out and choose !

In the office, five or six draughtsmen do the

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mechanical part and Wilson Eyre does the design-
ing. For instance, they block out in red ink the
floor levels of a proposed building, and the gen-
eral outline which the trial plan necessitates ;
then they tack it on an upright board or a flat
table, which are both in his private office, and
there he works and studies over it with charcoal
and brush and color, rubbing out and changing
until the design suits him. He generally studies
a building in perspective also — perspectives en-
tirely drawn by eye, for he has the faculty of getting
his drawing directly and accurately without the
need of mathematical^ located vanishing points.
Finally, when he is satisfied with his work, he
traces it or transfers it to another sheet, and this
is the drawing we see. He is not overparticular
about the colors he uses. " Palette-dirt " is wel-
comed and he is indifferent whether the water in

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OPPOSITE SIDES OF A CHIMNEY IN A RESIDENCE AT CHESTNUT HILL, PHILADELPHIA

BASIN IN THE MUSEUM COURT

LION'S HEAD MODELLED BY WILSON EYRE, JR.

DESIGN FOR A SEMI-SUBURBAN HOUSE

WILSON EYRE, JR., DES. ET DEL.

ARCHITECTURAL ANNUAL

16^5

his old beer mug is clean or dirty with paint ; but
somehow his drawings are seldom muddy. As to
color permanence in his renderings or sketches he
cares not at all, for he considers them only tem-
porary things. The building itself is the reality,
and the drawing merely a passing memorandum
of what it is or will be.

Although he is first of all an architect, and
architecture his real life-work "and his best
achievements there, -still he is widely known for
these renderings and sketches and imaginary
compositions. There is no need of describing his
technique in pen-and-ink, in coute crayon and in
water-color, for it is well known and he who
wishes can see it for himself. Suffice it to point
out one quality in all his drawings — his restraint
in the selection of what to show. It is character-
istic of Wilson Eyre that he selects only the few
qualities of the subject wherein is the chief inter-
est, and rather develops and idealizes them, see-
ing them in his own peculiar way. His sketch-
ing is to some purpose, too, for the characters
that he admires in other buildings — never the
details, be it understood — find their way into his
own.

His decorative detail he designs himself,
often modelling it also, and it is always origi-
nal. The inlaid marble mosaics of the Archaeo-
logical Museum are his, and these various flat
carvings and newel figures and finials. They
are the actual full-size working details. Orna-
mental detail is of great interest to him, and
he intends writing on the subject. Certainly
no one understands it better. In these repro-
ductions the Gothic crispness of his work is
evident, and throughout it shows the decora-
tive construction which underlies all design and
is a striving for a main effect and a subordination
of lesser things to it. It is interesting to try to

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WILSON EYRE, JR., DES. ET DEL.

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PERSPECTIVE STUDY OF A FORMAL 'GARDEN

WILSON EYRE, JR., DES. ET DEL,

DESIGN FOR A CITY HOUSE

WILSON EYRE, JR., DES. ET DEL,

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analyze this in the drawings here. Notice the
reversed "S" in the finial figures; it starts in
the lion's drooping head and the swing of its
mane and follows down its curled-up tail, ending
in the curve of its haunches ; at the same time
there is the vertical strength which its architec-
tural position demands. Somewhat similar in
this are the two hooded heads. Then see the
great swinging circle of the dog and the simple
curves of the stooping figures for the Mask and
Wig Club piano.

This swing of line is in the Academy Cata-
logue cover and in this advertising page — more
subtile, but there nevertheless.

Now these two drawings are of the best in
black-and-white decoration, and in them is addi-
tional proof of the strong instinctive art in Wil-
son Eyre's nature, through which his work is
spontaneous and living, never repeating, ever
changing, ever developing, and ever with a

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WILSON EYRE, JR., DES. ET DEL.

PRELIMINARY DESIGN FOR A COMMERCIAL BUILDING

WILSON EYRE, JR., DES. ET DEL.

PROPOSED DESIGN FOR A COTTAGE AT KINGSTON, N. Y.

WILSON EYRE, JR., DES. ET DEL.

SECTION THROUGH A PROPOSED ALTERATION TO THE OLD WILSTACH MANSION, PHILA.

WILSON EYRE. JR . DES. ET DEL.

West 5ide.

SKETCHES FOR A BAY WINDOW IN A CITY HOUSE

WILSON EYRE, JR. DES. ET DEL. '

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DESIGN FOR A CITY HOUSE

WILSON EYRE, JR.. DES. ET DEL.

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WILSON EYRE, JR.

184

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freshness and variety. We have followed it
through its earlier stages and its late, through
its greater compositions and its details, through
its failures and successes in reaching the ideal
of architecture ; but, no matter what its faults,
it is never commonplace and tamely copying of
other work, but it trusts in its instinctive inner
guidance. Instinctive art is progressive ; scien-

tific art is decadent. That is the difference, and
all praise be to the former.

This qualit}', it seems, will last throughout
his work. What has been promises greater
things in the future, but, after all, the future is
unknown. The years must deal gentty with his
present buildings, mellowing and enriching them
with age, but the things to come are hidden.

POSTER DESIGNS BY WILSON EYRE, JR.

BENJAMIN FRANKLIN

JOHN J. BOYLE, SCULPTOR

" PETER STUYVESANT "
EXCHANGE COURT BUILDING, BROADWAY, NEW YORK CITY

J. MASSEY RHIND. SC.

" HENRY HUDSON "
EXCHANGE COURT BUILDING, BROADWAY, NEW YORK CITY

J. MASSEY RHIND. SC.

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J. MASSEY RHIND, SC.

SPANDREL OF " HEROISM "
SMITH MEMORIAL ARCH, PHILADELPHIA, PA.

J. MASSEY RHIND, SC.

INDIAN AND BUFFALO

H. K. BUSH-BROWN, SCULPTOR

ARCHITECTURAL ANNUAL

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"THE SCIENCE OF CITIES"

PART I
TRANSPORTATION ARCHITECTURE

the first of a series of papers, rewritten by Daniel M. Karcher, from the report of the Fourth Holder of the
Travelling Scholarship in Architecture of the University of Pennsylvania.

BEFORE entering upon a discussion of trans-
portation architecture, and the present rela-
tion of science to railway architecture, it is
important to point out the causes which lead to
these classifications, as well as to show conclu-
sively that, in solving these problems, it is im-
possible to divorce science from architecture.

Terminals, way stations, freight depots and
the like are united by rails and wires, and thus
become an integral part of the railway system.
Each architectural unit is made scientifically in-
terdependent, but all combine to make a greater
unit which embraces them all. Just as in feudal
days the city gates were bound together by a
city wall, and were thus made architecturally
dependent upon each other, so all divisions of
transportation architecture are united by their
mutual needs.

By their great increase in speed and extent
of the system, railways are constantly present-
ing new and varied problems to the architect for
solution. It is only by studying these in the
scientific light of the day that he can hope to
keep pace with the advances of mechanical trac-
tion, and thus be able to provide for travel that
now extends over the globe.

When transportation was in its earliest stages
of development the factor of geographical advan-
tages or disadvantages determined everything.
Indeed, in the present day it is still an import-
ant factor, but it is by no means so necessary

as it was formerly. Although Boston and Phila-
delphia each possess admirable natural harbors,
the shipping trade of those towns is gradually
being diverted to other ports, where deeper
harbors and more modern facilities for transfer-
ring passengers and cargoes are provided. While
geographical conditions offer superior advantages
to transportation systems, and while industrial
enterprises cluster where both conditions are
supplied, the commercial supremacy of the modern
city is more vitally dependent upon its transporta-
tion facilities. As instance of this truth, Chicago
and St. L,ouis border upon important internal
waterways and remain the natural railroad centres
of the United States ; New York, San Francisco
and New Orleans, though situated at the natural
doorways of commerce, would enjoy their commer-
cial supremacy no longer if better facilities were
offered in rival ports.

Just as shipping men are quick to avail
themselves of better advantages in neighboring
ports, so do the local railways adapt themselves
to such changes and respond to the new demands
thus made upon their resources. To demonstrate
how little the actual centre of metropolitan life
affects the location of a great terminus, one need
only recall the present location of great trans-
atlantic steamship docks in the slums of Hobo-
ken, N. J. But the modern public, whose travel-
ling is cosmopolitan, who "learn to travel" as
well as "travel to learn," are beginning to de-

198

ARCHITECTURAL ANNUAL

mand closer and better communication between
transport systems of all kinds. Those shipping
centres which offer a higher efficiency of service
will gain a corresponding permanence as the
transferring points in this cosmopolitan circula-
tion. Rise and fall of tides, currents, exposure
and general topography are, of course, determin-
ing features, but where land and water traffic are
made dependent upon one another the accumula-
tion of travellers will always be evident.

To accomplish this the engineer and the
architect must be intimately associated in the
work. Bach have their individual powers, but
neither can perform the task alone. Even
though the engineers of Boston in the con-
struction of the new South Central Railroad
Station achieved what is creditable from their
standpoint, from the architectural point of view
the results are worthless. The Utopian end of
both these professions will only be realized when
concerted action has been made the requirement
in all such projects. Greed and self-pride should
not deter us from viewing the matter in its
sociological light. The vital consideration should
be, is the present course of action most beneficial
to the community at large ? It is in such a light
that we shall endeavor to consider the subject of
transportation ; we shall seek to determine what
its present needs are, and what will best suit
those needs.

RAILWAY STATIONS

The problem to be solved is facility of circu-
lation, and an arrangement of the two tendencies
concentration and distribution. These two ten-
dencies are at present working side by side, and
must be brought into some relation before the
city can assume a unified nature. In the under-
ground system of Boston, and in the overhead
urban system of New York, we have illustrated
the extensive distribution of stations, which in
Paris has reached its highest development in
making frequent corner shops the station of an
underground system. Of course, our own trolley
system is, and the perfected auto-vehicle soon will
be, a commonplace example of the tendency
of distribution, but the underground and over-
head railways, by removing the tracks from the
street surface, have reached a higher stage of
progress. On the other hand is the tendency of
concentration, illustrated by the centering of all
suburban and continental railroads in one large
depot. When one considers the vast scope of all
these systems, the space covered by the concen-
trated railroads, the immense population carried by
both systems, and the successful placing of stations
where distribution is necessary, the exigencies
of present-day life can in a way be appreciated.

But with all this an obligation is placed
upon the railroads to accommodate such travel
with perfect circulation. There must be no con-
gestion of passengers at the distributed stations,
and there must be no inconvenience to conti-
nental passengers on account of suburban travel.

Where continental and urban systems are
all concentrated, as in the new Dresden Station,
the problem has been made even more com-
plex, and has been solved by placing the urban
underground, and the interstate or continental
tracks overhead. Thus the extent of travel
appears even more stupendous when we take
into consideration an elevated system exempli-
fying the tendency of concentration, a surface
system (street cars, etc.), the tendency of distri-
bution, and an underground system, again illus-
trating the principle of concentration as applied
to suburban travel.

To be a pessimist in modern days is to be
antiquated and absurdly old-fashioned. Our
ancestors were contented to jog along on terra
firma in " a one-hoss chaise" or some convey-
ance which, if it even rebelled at all, would not
be apt to give the rider much inconvenience in
falling. To-day, we have left these fundamental
problems of one dimension, have even passed those
of the second and third, and, if such a thing is
possible, have accomplished the task of master-
ing the fourth dimension of travel. In what
other terms can we express it, when travel is
going on upon the surface ; trains are burrowing
their way through dark underground passages,
with probably another underground system
above or beneath them ; elevated roads are
stretching out like good-natured octupi to grasp
every town and city of the nation ; and, floor
upon floor, lofty office buildings are providing
twenty or thirty working planes above the surface
of the ground? Travel, like everything else of
the modern day, has entered the age ' ' without
fear and without reproach ;" we are safer to-day
in the subterranean mole-hills of the underground
railway, or, as the country boy dreamt, sliding
down the banisters of a sky-scraper and going up
again in the elevator, than our ancestors were in
the historic " one-hoss chaise."

The brick gateway that spans the canal at
Sneek, in Holland, is of ample size and height
to accommodate all the canal-boat travel that
passes beneath it. It is symbolistic, but not of
material advantage or use in the traffic. Its
meagre dimensions signify no more than its needs.
Comparing this with the pillars at the port of
Bordeaux, we instinctive^ feel the change of
atmosphere, the change of transportation facili-
ties from canal boat to sailing vessel. But the
sailing vessel and the symbolistic pillars of Bor-

ARCHITECTURAL ANNUAL

199

deaux are not in the van of progress. Instead
of a schooner sailing bnt three or four knots an
hour, we are dealing with floating cities that
cross the ocean in five days. How do we of the
present day suit ourselves to such travel ? Con-
sidering this traffic from a sociological standpoint,
how near are the municipalities to the ideals ?
We have not followed the very commendable
tendency of the Dutch canal arch or the French
pillars ; we are, if anything, behind the possi-
bilities and opportunities that are at our doors.

front, where two surfaces are utilized for traffic.
The needs of commerce and the railroad facili-
ties are carried on along the shore, while a higher
terrace is used for the broad boulevard. In the
illustration, the steamers and vessels of all kinds
unload their cargoes and passengers on a plane
which would correspond to the present level of
the streets along the river front — usually a decline
from other street levels. On this plane are laid
the railroad tracks needed for transfer of the
vessel's goods or passengers ; with these tracks

WATER GATE, ENTRANCE TO THE CANAL AT SNEEK, HOLLAND

Instead of alighting from a railway train in
the city of New York, travelling from the ter-
minal through the worst part of the town, cross-
ing the river in a musty ferryboat, and rumbling
over an ill-paved slum section of Hoboken to the
Transatlantic Steamship piers, is there not some
"American " way of being transferred from point
to point, or of bringing down the distance be-
tween steamship and train to terms of linear feet
in place of city blocks ? The plan shown on page
201 should effectually solve the problem. It is
the development of the plan of the city's water

the underground railway system connects. On
the higher plane, forming an objective point at
the end of the city street, stands the impressive
customs building, and towering above it are
American office buildings, without light wells,
but constructed in long towering strips so as to
briDg about thorough ventilation in the buildings
themselves and across the city as well. These,
then, replace the monumental pillars of Marseilles
but beside their symbolistic position are materi-
ally useful — representing the true activity of
American commercial life.

200

ARCHITECTURAL ANNUAL

It is particularly important that the railroad
station have in its construction some such signifi-
cance. Just as the lofty building suggests " busi-
ness, multiplied by so many stories," so the
railroad station should carry the thought of an
official municipal entrance to the mind of the
traveller or resident. Many American terminals
fail in this particular. The depot has replaced
the gate of the feudal walled city and the tri-
umphal arch. For this reason it should be placed
at a focal point, where, if possible, a number of
streets converge. The stranger glancing down

tural design preserved and so well merged into
the railway system itself.

The accompanying illustrations demonstrate
the plan, purpose and general disposition of sev-
eral of its departments. One is struck with the
frankness and simplicity of the entire design, and
we further note that the central feature of the
bold arch seems to form the modern city portal
through which traffic has a grand clear sweep.
Notwithstanding these architectural advantages,
perhaps surpassed by no other design, the fact
that the station is planned for a surface railway

HARBOR ENTRANCE OF THE CITY OF BORDEAUX, FRANCE

any of these radial streets should be able to see it
in the distance and by its general character be
convinced that it is his objective point.

The modern train-shed, with acres under
glass, makes such an ideal all the more
possible.

The new station at Frankfort-on-the-Main
was considered, at the time of its construction,
the best railway terminal in Europe. Although
larger terminals existed in other cities and some
were planned to handle a greater volume of traffic
with equal ease, in no case was unity of architec-

condemns it as a model terminal. With its high
span, the facade fulfils the requirements spoken of
above, by impressing the observer that the build-
ing before him is the city's gateway. Being light
by night or day, this immense arch draws the eye
toward it.

The necessity for easy circulation is not very
successfully met by American terminals. Con-
tinual arrivals and departures must be accom-
modated, and each be kept to itself. Arguing
from the simple tendencies of every-day life, the
difficulty may be solved by requiring the traffic

ARCHITECTURAL ANNUAL

201

to be divided to the right and left, no matter how
large or small it ma}' be. Especially is this
needed in busy American life. Even abroad,
where the business man, with all the rest, calmly
saunters along the street, such a method is car-
ried out. In America, where the saunterer is the
exception to the rule, it is even more necessary.
All the advanced continental terminals have it
well understood where incoming passengers are
to arrive and where outgoing passengers are to
depart, and it is always the same simple rule.

To bring this about, the railroad company
should be compelled to donate surrounding por-

The Grand Central Passenger Station is no
novelty; it probably represents one of the first
steps made toward concentration. Depots of this
class include many whose tracks are still on the
surface. At Dresden, as already stated, an ideal
arrangement is present in the use of both elevated
and depressed tracks, thus allowing the surface
travel to be independent and unhampered by out-
side railway traffic. To bring such surface travel
directly in contact with train service, in many
instances carriage-ways, having access to the
street, are carried either up or down to reach the
level upon which trains enter the terminal. This

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SUGGESTION FOR THE WATER-FRONT OF AN AMERICAN CITY

tions of ground to the city in return for the privi-
lege to bridge cross-streets. This is assuredly no
more than the taxpayer has a right to expect and
demand. The modern railroad makes compara-
tively few concessions, but obtains its privileges
through the city's representatives, not through
the taxpayer. If such portions of land could be
obtained, they might be devoted to courts that
would surround the station and offer space for the
accommodation of congested traffic. Arrange-
ments could be made by which a driveway would
circle these courts on each side of the station, and
thus cabs would be ready to receive the arriving or
departing travellers.

eliminates the inconvenience which is now present
of making all passengers use the stairs or elevator
of the station.

The latest development is reached in a
combination station, such as the Boston South
Central. Here the trolley system which covers
the city and gathers in its passengers from many
points continues its tracks, in a loop, through
the railroad station ; thus enabling the traveller
to leave the car under the same cover his
train departs from. Local street transit and rail-
road travel have in this way been brought under
one roof. This is the solution of the problem we
started with. The tendency of concentration has

202

ARCHITECTURAL ANNUAL

been considered in the centralized station ; the
tendency toward distribution has been answered
in the system which has collected from different
sources and united in the combination depot. Such
combinations have led ultimately to more compre-
hensive railroad architecture. In continental
centres one may observe depots placed upon com-
manding sites with auxiliary buildings grouped
around them. The latter are used for adminis-
trative purposes, while the grounds surrounding

them are useful as means of egress and access.
Such a grouping of railroad buildings is an ex-
cellent move. A station that possesses a terminal
hotel, shops and department buildings is. a utili-
tarian perfection of arrangement that may go far
toward enhancing the city's beauty and realizes
one of the highest ideals of sociology.

But the United States, ever in the van ol
progress, has still another element to add to the
problem. With the vast amount of office work

ARCHITECTURAL ANNUAL

203

and clerkly needs, the lofty building is con-
structed as the head house of the terminal. To
use this high structure — so necessary to Ameri-

can demands — and still retain the characteristic
appearance of a railroad terminal is a problem
still unsolved in practical architecture, but there

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PLAN OF A TERMINAL RAILWAY STATION

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BOSTON SUBWAY STATIONS

CHAS. BRIGAM, ARCHITECT

From the Attieticaii At chile

DEPOT AT SEATTLE, WASHINGTON

CASS GILBERT. ARCHITECT

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DESIGN FOR AN ELEVATED RAILWAY STATION

BY M. MARC EMERY

INTERIOR OF THE TRAIN SHEDS OF THE FRANKFORT RAILWAY STATION

ENTIRELY OF METAL AND GLASS

THE NEW SOUTHERN CENTRAL TERMINAL STATION, BOSTON

SHEPLEY, RUTAN & COOLIDGE, ARCHITECTS

212

ARCHITECTURAL ANNUAL

is no reason why all the other ideas may not be
combined. If the lofty building can be used
with continental improvements such as are
realized at Frankfort-on-Main and at Dresden,
a railroad terminal will be constructed whose
concentration and utility will be unmatched.

The matter of track plan and arrangement
of train floor has been given much consider-
ation abroad. The short cars used enable the

ELEVATED TERMINAL

railroads to use turn- tables and cross overs
for switching purposes in a way which we can
hardly employ with our long coaches. There, it
is possible to switch the small compartment cars
with great rapidity and a whole train may be
turned inside the depot — on the train floor or
carried down to another floor by elevator.

The hydraulic equipment which is used in
the Gare St. Lazare, in Paris, is worthy of

study. Indeed, it requires some study before
such a clever plan can be understood. To judge
by appearances, the track is too close to the
station platform to allow an engine to turn
entirely around, but it is accomplished. The
track upon which the engine stands after it has
entered the station is part of a turn-table which
extends beneath the station platform. By
hydraulic pressure, but apparently by touch-
ing a button, the entire turn-table is moved
from the platform and thus sufficient room is
obtained to turn the engine or pass it to another
track. Time is saved and time is continually
being saved by such improvements. Mark
Twain's remark that in one European country
"he travelled a short distance by rail, thereby
losing much time," will not remain true long if
our foreign friends are so active in improvements
as at present.

Even the minor improvements distributed
throughout a great "Railroad Station Group"
are characteristic, and, if carefully considered,
will add much to the comfort and convenience
of the public. The time will come when, just as
the many-storied office building represents con-
centrated financial or commercial interests, so the
grouped or lofty terminal building will represent
the railroad among the many municipal units.
Concentration is now the spirit of the age. When
trades first began, the store in the little provincial
town was the market place for everything pur-
chasable. With the growth of the town, each
trade and each industry separated itself from
those to which it had been tied and worked in-
dependently. The town is now a municipal^,
and the same principles of concentration and
distribution have been working out the develop-
ment of trusts and department stores. There
now stands out a city, called a unit, but made
up of many other diverse units. The Railway
Station will stand out as the representative of
one of those units before the people when it has
placed itself in the right light before the people.
To obtain the public regard, more attention must
be given to the accommodation of traffic, the
more effectual spacing, the careful arrangement
of train-floors to suit different systems, and also
to the aesthetic significance and appearance of
the building. The people must realize that the
railway system is an artery of the municipality
to which they belong as another part, and, though
we would not counsel municipal ownership or any
socialistic scheme, the relation of the Railroad to
the rights of the public by railroad bridges, via-
ducts and subways is an important consideration,
but that must be what Kipling and many others
have called " another story."

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From the Inland Architect

A MONUMENTAL OFFICE BUILDING— THE PABST BUILDING, MILWAUKEE

S. S. BEMAN, ARCHITECT

CONDICT BUILDING
NEW YORK

PRESS COMMENTS

"This building is the nearest approach
yet made in New York to solving the
problem of the sky-scraper." — "The Sky-
scraper up to Date." Montgomery
Schuyler, Architectural Record, .March
31, 1899.

"This is the architectural treatment
of the future metal building of our cities
in the form which it must pass through
if it is to reach any serious architectural
success." — "Good Things in Modern
Architecture."— Russell Sturgis, Aichi-
tectural Record, September 30, 1898.

" It affords a very original and a very
expressive solution of the problem of the
sky-scraper."— .V. Y. Real Estate Record
and Guide, October 15, 1898.

" It is one of the most successful build-
ings in the city." — N. Y. Times, January
8, 1899.

"One of the most interesting build-
ings in the city is the building on the
north side of Bleecker Street, opposite
Crosby Street." — N. Y. Evening Post,
September 24, 189S.

A STRAIGHTFORWARD DESIGN FOR AN OFFICE BUILDING

LOUIS H. SULLIVAN AND LYNDON P. SMITH, ASSOCIATED ARCHITECTS

Hrtbur Spa^b Brooke

Born, Hugust 21, 1876
©let), Januarv? 22, 1900

From the "Class Poem of '97," written and illustrated by Arthur Spayd Brooke

" Other men will take our places, do the things that we have done,
Overmatch our little prowess, wear the honors we have won,

For our little life has passed like fairy spell.
Ever, ever are we parted.
And we leave thee heavy-hearted ;

With one glance intense and longing, bid the old sweet life farewell."

THE world will never hear now of Arthur
Spayd Brooke. Had he lived, those of
us who knew and loved him believe it
would have been otherwise. There was in him
such a happy mingling of rare mental gifts
with nobility, manliness and sensitiveness to
beauty that we are justified in this friendly
faith. It befell, however, as often happens,
that his efforts were not to ripen into the fullest
achievement, as the world understands these
matters.

A life which covers at the
most something less than
twenty-five years must of
necessity be significant of
promise, rather than fulfil-
ment, and its interests and
successes outside of home are
centered in the life of school
and college. At least it was
so with him, and the most
valuable record of him must
come chiefly from the memo-
ries of classmates and
teachers. The union of char-
acter, energy and talent
marks the true leaders of
men. Among them our friend
early took his place, and in
each new field of endeavor it
was accorded to him without
a question.

One of his oldest friends says of him : "In
his earliest boyhood his tastes differed from
those of the ordinary schoolboy. He was
social, cheerful and happy in disposition, but
he found more pleasure in books than in rough
sports. From the very beginning of his school
life there was no second place for him, the first
was always conceded and his title to it was
never challenged."

In his college life it was much the same.
There his foremost interests were always

divided between architecture and literature,
but it is characteristic of his universal curi-
osity and energy that whatever the subject of
the hour, that he pursued with the abandon of
an enthusiast. His professor of chemistry said
he studied that subject as though it were to be
his life-work. And so it was in all his studies.
The presence in the classroom of such vitaliz-
ing power enriched and stimulated the efforts
of all, whether pupils or masters. Although
he was preparing for his
chosen profession of archi-
tecture, each year of his col-
lege life was marked by the
highest honors and prizes
in English composition, and
it was perhaps significant
that it was as a writer and
illustrator of the leading ar-
ticle of the July (1899)
number of the Architectural
Review that his name was
first brought to the notice
of the architects of the coun-
try, for all his acquire-
ments, study, observation
and force were brought to a
focus by an irresistible pas-
sion for artistic expression.
He labored with the untiring
patience and love of the true
artist to perfect his sense of form in the two
arts, and grew more and more determined
that each should play an important part in his
life.

To his fellow-students, as well as to his
companions in the T-Square Club, his wonder-
ful force and energy seemed even more remark-
able than his aptitude and gifts.

Of his personal character all say the same.
His was a life of singular purity and sweetness.
The embodiment of virility and manliness, he
followed the high ideals of a deep poetic nature.

ARCHITECTURAL ANNUAL

217

The trying first years of professional life were
nearly over and he was beginning to realize
a foretaste of the success, as a writer and
architect, that he had been striving for, when
he died. A cruelly short life ! And how bewil-

dered and bitter we are left ! Surely we must
believe that somewhere that stream of energy is
pouring itself out, with all the verve and spirit
we know so well, in the behalf of eternal beauty
and goodness.

PROPOSED BRIDGE IN

FRONT OF THE MOST COSTLY CITY HALL
IN THE WORLD

This illustration, needless to say, is not presented as an example of civic embellishment, nor is it published as a rebuke to corporate
greed, but merely as an every-day illustration of increasing congestion and growing structural entanglements in American cities. So long
as invaluable franchises are granted to money-making corporations without intelligent forethought being exercised to protect public
interest, this state of affairs must continue. The citizens of Philadelphia should congratulate themselves that the Pennsylvania Railroad
Company contemplates only the erection of a foot-bridge across Market Street directh' in front of the Public Buildings, for their present
station already bridges one public thoroughfare with a lofty office building, in which tier upon tier of private offices rise up a barrier to the
natural ventilation of the street. The modesty of the railway company in not applying for permission to bridge Market Street as well with
a like structure, entirely shutting off the view of the Public Buildings, is as much a surprise to us as it is of advantage to the general
welfare. There is no better office building site in the Quaker City.

THE MOLIERE FOUNTAIN, PARIS

Showing how a costly improvement is introduced into an obscure quarter to establish a new street alignment, to embellish
the neighborhood, and to assist in enhancing the valuation of private property.

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220

ARCHITECTURAL ANNUAL

CITY BRIDGES

AS ACCESSORIES TO CIVIC EMBELLISHMENT

YEAR by year the area within city limits
occupied by buildings becomes denser and
denser. Encroachments upon the public
thoroughfare and parks should be carefully
avoided, for the city needs every inch of air-
space. As dwellings and office buildings gradu-
ally grow nearer together, available monument
sites grow less and less frequent. In choosing a
suitable location no little difficulty is experienced,
for the canyon-like streets
prevent all attempts toward
imposing or dignified design.
Frequently it amounts to a
deliberate choice between
trees, verdure, flowers, and
the architectural embellish-
ment. No one can question
the value of the former in
crowded urban life.

There are places, how-
ever, where this choice is
not necessary and where
ample space is present upon
which to exercise the inge-
nuity and thought of the
architect. Especially are
bridges susceptible to such
embellishment, and they are,
of course, incapable of sup-
porting the growth of trees
and bushes. The centre of a
bridge can very frequently
be seen from the distance of
a mile either up or down
stream ; any monumental
treatment of it is likely to
be effective and impressive.
Likewise may the approaches
be so constructed as to offer
opportunity for the use of
statuary. Bridges are now
being used to answer so many different demands
of city life that just occasions for municipal
adornment by this means are becoming mani-
fold. Were it not for the smoke of the locomo-
tive, any suggestions on this score might equally
apply to bridges over depressed railway lines.
However vain it may be to look into the future,
it is altogether probable that the forthcoming
century may remove such a trivial difficulty.

Bridges, treated with some idea toward defi-
nite embellishment, may serve to recall the his-

tory of a city more readily than do its buildings.
Each is the product of a certain age, and by its
sincere lines tells its own story. Consider what
history exists in a series of bridges, whether
ranged in order of construction or not, as they
present to the river voyager whose boat threads
them, one by one.

In the city of Paris this is strikingly illus-
trated along the Seine. From the narrow,
ponderous bridge of five
stone arches one turns to
a more comely structure of
three stone arches, then to
the iron bridges rising from
stone piers in three spans,
then to the graceful canti-
lever; Pont Mirabeau, with
its bronze statuary, and fin-
ally to the single span steel
structure that in modern
clean-cut lines springs from
shore to shore. Meanwhile
the voyager has not neglected
to notice the double-storied
Auteuil Viaduct shown on
another page.

By such means may
bridges silently tell the story
of civilization as it has pro-
gressed from primer to well-
conned lesson. Just as in
other projects, so here it is
necessary that the architect
and engineer co-operate har-
moniously if results are to
be obtained creditable to
both. Therefore it is grati-
fying to note that, during
the year just passed, a com
petition was instituted in
which this ideal was appar-
ently realized. In planning a memorial bridge, to
cross the Potomac at Washington, four engineers
were invited to compete, and each was required
to select an architect who would prepare the
plans with him. Truly, we are beginning to
"arrive."

As we go to press, an article has just appeared
in the May number of the Century Magazine, by
Montgomery Schuyler, entitled 'Art in Modern
Bridges," which every student of municipal im-
provements should read.

MONUMENT SITES

A bridge in Berlin upon which statuary is displayed to advantage, it being strongly contrasted against a background of foliage and often

clearly reflected in the water below.

THE FRIEDRICHBRUCKE, BERLIN

From The Architect, London

PROPOSED VICTOR EMMANUEL MEMORIAL BRIDGE, ROME

THE TOWER BRIDGE (BASCULE BRIDGE), LONDON

A modern engineering problem, worthy of better architectural treatment. A lost opportunity to symbolize the commercial centre of
the world. Instead of considering the universal commerce of the British Empire, radiating, as it does, from this spot on the Thames, the
designer has taken his inspiration from the historic Tower of London, and has produced an anachronism in which the first principles of
structural support have been ignored.

THE AUTEUIL VIADUCT, PARIS

ELEVATED RAILROAD IN CENTRE OF DRIVEWAY

PYLON OF THE ALEXANDER III BRIDGE,
PARIS

from the American Architect

ST. LOUIS ARCHITECTURAL CLUB
COMPETITION

ENTRANCE TO A BRIDCE— BY OSCAR ENDERS

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ARCHITECTURAL ANNUAL

It is a long time since we have read any semi-
technical article of equal interest and importance.

Although he begins by saying that "The
bridges of the world which are acknowledged to
be among the masterpieces of the world's archi-
tecture belong to the pre-engineering era," he
recognizes engineering as the essential element
in modern bridge-building, and goes on to prove
that the most natural engineering feats are the
most graceful, and that in France, where they
sometimes reduce metal trusses to works of art,
"a professor of architecture is attached to the
national department of engineering, with results
that ma}' be judged by a comparison of the Pont
Mirabeau with the best of our own in the same
kind." He speaks of bridge-building com-
panies dealing out scientific constructions in
assorted sizes, and speaks of the American en-
gineer's fine contempt for art as follows : "One
such has declared in public that a bridge, being
merely a 'tool of transportation,' is to be

EXTRACT FROM THE BOOK OF THE
CHICAGO EXHIBITION, 1900

D WIGHT HEALD PERKINS, EDITOR

»» IN addition to its self-appointed task along
municipal lines, the Architectural Club, in
connection with the Architectural League
of America, stands for the new thought in art
and design.

"It stands for art which is fundamental, in
which form follows and expresses function —
which aims to 'solve problems of utility in
terms of beauty,' and which, while revering the
past, yet places principle before precedent.

"It has taken special pleasure in observing
the progress of the new spirit, as manifested in
recent work in this country."

"It is with peculiar gratification that the
Chicago Architectural Club takes this oppor-
tunity to recognize its affiliation with the other
architectural societies of the United States
and Canada in the Architectural League of
America. The effort which this club put forth
in undertaking to call a meeting of delegates
from the various architectural clubs to be held in
Cleveland last June has been more than repaid
by the added interest which has been manifested
in club affairs. As a further result of that meet-
ing, an increased inspiration has been felt for
greater efforts in the study of civic problems, as
witnessed by the discussion of the lake front
problem, the grouping of public buildings around
a municipal court, the extension of the park sys-
tem to include the Calumet region, the Desplaines

judged, like any other tool, by its efficiency,
without reference to its appearance, without
reference to art."

In referring to an old design for the proposed
memorial bridge over the Potomac at Washing-
ton, Mr. Schuyler says : "Another bascule bridge,
which as yet exists only on paper, is worthy of
note as the only extensive bridge in this country
which has been monumentally conceived." Here
we must differ with him, as we know of two others
— one to span the Charles from Boston to Cam-
bridge, and the other several competitive designs
for the same problem he refers to. Granting all
he has to say about the fitness of the latter as an
example of constructive art, we feel that the
medieval castle-on-the-Rhine effect is a bit of
picturesque affectation, which does not clearly
interpret either local, national or contemporaneous
conditions. But, then, Mr. Schuyler's article is
not upon architectural expression. It deals with
broader problems.

River Valley, and the Skokie Marsh, and the
establishment of small parks and playgrounds
in the congested districts.

"The Code Governing Competitions, recom-
mended by the Architectural League of America,
and also adopted by the Architectural League of
New York, the National Sculptors' Society, the
Society of Mural Painters, the T-Square Club of
Philadelphia, the Pittsburg Architectural Club,
and several others, has been adopted by the
Chicago Architectural Club, and is recommended
to all those who, believing that the best results
may be obtained by competitions, wish to conduct
them on a basis of mutual understanding that
shall be honest and fair to all parties. To any
society or individual needing assistance in formu-
lating a competition program, this club freely
tenders its assistance and good offices.

" We believe that there is much to be gained
through conference with fellow-workers. We
anticipate for the Architectural League of America
an increased influence for the development of an
appreciation of honest and intelligently conceived
architecture.

"To the next convention of the League,
which will be held in Chicago, June 7, 8 and 9,
1900, the Chicago Architectural Club most cor-
dially invites its confreres of the League, as well
as all other societies having affiliated interests.

" To the various members of the Architectural
League of America who have assisted in the col-
lection and forwarding of works in other cities
for our exhibition we extend our thanks, with
the assurance that their efforts cu our behalf are
appreciated, and will be gladly reciprocated."

ARCHITECTURAL ANNUAL

227

A CHAIN OF BEACON MONUMENTS TO MARK

BISMARCK'S BIRTHDAY

A GREAT CONCEPTION ABLY INTERPRETED

STLTDENTS of the various universities in
German}- recently decided to celebrate the
anniversary of Bismarck's birth in a notable
fashion on April i, 1900, and a program has now
been arranged in accordance with which pillars
or monuments in honor of Bismarck will be
erected in many German cities, and on the morn-
ing of April 1st flames will burst forth from them
and will continue to burn during: the day.

From Berliner Atchitektuncelt

PREMIATED DESIGN

HERR KREISS, ARCHITECT

The first step in this direction was taken a few
days ago, when several leading professors met at
Eisenach for the purpose of deciding on the form
of the proposed monuments. Among those pres-
ent were Herr Ende, President of the Berlin
Academy of Arts ; Andreas Meyer, of Hamburg ;
Herr Schaefer, of Carlsruhe ; Professor Von
Thiersch, of Munich, and Herr Wallot, of
Dresden. The leading architects of Germany
had been invited to compete, and the result was
that 320 designs were submitted.

Of these ten were finally selected, and valu-
able prizes were awarded to the architects who
had submitted them. The three designs which
were esteemed to be the best were submitted by
W. Kreiss, an architect of Dresden, who dis-
tinguished himself a few years ago by winning
the first prize for his design of the famous battle
memorial at Leipsic, and who also won during
the present year the national prize awarded to
architects by the Prussian Government.

One of his designs of a Bismarck monument
is notable for its strength and simplicity. We
see a massive square structure, flanked by four
pillars, and with a hollow opening at the top,
through which the flames are to burst. In this
hollow opening is a large metal brazier, which is
designed to hold the coal and other fuel, and

228

ARCHITECTURAL ANNUAL

within the structure is a staircase leading up to
the brazier. The rear and sides of the monument
are of smooth stone and are devoid of ornament,
but on the front are several sculptural deco-
rations.

This design is generally admitted to be the
best, and the numerous monuments which it is
proposed to erect in honor of Bismarck will be
fashioned after it. These will be placed on the
highest points near the various cities and
towns, and they will vary in size according to the

wealth of the cities and the height of the eleva-
tions.

One hundred and seventy-four cities and
towns have already arranged to erect a Bismarck
monument, and in each place a committee has
been appointed to select the most suitable spot
for their erection. The plan is to have the fires
in the various monuments lighted simultaneously
on April ist, and thus it is believed that there will
be a regular chain of beacon lights from one end
of Germany to the other. — From N. Y. Herald.

EXTRACT FROM THE T-SQUARE
CLUB CATALOGUE, 1900

DAVID KNICKERBACKER BOYD, EDITOR

ii r [~^HE T- Square Club keenly appreciates
the advantages to be derived from mem-
bership in the Architectural League of
America, and welcomes most heartily the sponta-
neous rapprochement it has brought about.

" The broader sense of professional fellowship
and responsibility stimulated by the interchange
of ideas among the members of diverse archi-
tectural bodies in itself promises much, while the
holding of a referendum or national convention
gives opportunity for the free discussion of per-
tinent topics, the enunciating of ideals, and at
the same time furnishes a court of appeal particu-
larly welcome to the profession in this State which
has thrice vainly endeavored to have the Penn-
sylvania State Capitol competition scandal fear-
lessly investigated.

"The basis of organization of the newly-
formed League, as we understand it, is simply
local self government. A number of independent
societies from time to time come together for con-
sultation. Each unit retains its individuality,
and is under no obligation to the central body.
In other words, the organization is voluntary and
not binding, and may assert itself under many
different conditions. Its make-up may totally
change from year to year, and, in fact, a society
represented at one convention may even change
in name, purpose and membership without alter-
ing its standing in the League, provided it still has
the advancement of American architecture at
heart.

' The code governing competitions recom-
mended by the Architectural League of America,
and already adopted by the Architectural League

of New York, the National Sculpture Society,
the Society of Mural Painters and the Chicago
Architectural Club, has been ratified by the T-
Square Club. Its adoption is urged by the other
clubs of the country, believing that it furnishes a
standard for the client, a basis for mutual under-
standing in the profession, and that it will have
an influence in producing a morale that does not
now exist.

" The T-Square Club framed resolutions early
in the year requesting the Honorable Secretary
of the Treasury, in the exercise of his discretion,
as provided in the Tarsney Act, to select local
architects to enter into competition for certain
public buildings in various cities and towns of
Pennsylvania.

" These resolutions were forwarded to the in-
fluential architectural societies of the country,
and were by many of them indorsed in further
resolutions to the Secretary of the Treasury, and
the prospects for the successful operation of the
Tarsney Act in these and other localities are con-
sidered excellent.

" On Wednesday, October 18, 1899, the officers
and trustees of the Free Library of Philadelphia
tendered a reception to the T-Square Club at the
Pepper Memorial Hall, for the purpose of there
introducing to the profession the Architectural
Library, which is already ample and contains
many valuable and unique works.

" The aid of the Club has been especially re-
quested in the selection of new works, and it wel-
comes the formation of this collection, because
its practical value and its liberal administration,
as already demonstrated, will render it of genuine
service to the profession and a means of advanc-
ing architectural standards."

PROPOSED COLLEGE DRINKING FOUNTAIN

ALEXANDER STIRLING CALDER, SCULPTOR

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ARCHITECTURAL ANNUAL

233

STREET PAGEANTRY

A NEW FIELD FOR THE ARCHITECT AND SCULPTOR

THE return of our victorious troops was the
occasion of numerous festival displays, tem-
porary in character, but imposing while
they lasted. Their greatest benefit is not in the
spread-eagle demonstration they fostered, but in
the incentive they are likely to give to civic
adornment. To commemorate the deeds of great
men or armies the monumental stone and bronze
have the most suitable character, but for tempo-
rary displays less durable material may be
employed. However, there is no necessity to
bring together an entirely new collection of deco-
rations for each event, and many cities of Conti-
nental Europe are prepared for such demonstra-
tions without a new expense being involved each
year.

A staid and unruffled career has characterized
the history of the United States for the past
thirty years. Little cause existed for decoration
outside of military parades at irregular intervals.
In this particular the country has differed
from European States which are accustomed to

deck themselves in carnival attire at expected
periods. Our cities have made few attempts
toward unified or definitely planned decoration
beyond a discordant display of hastily collected
materials. Up to within a year or two, di essing of
buildings and streets has nearly invariably been
due to individual initiative.

On the other hand, many foreign cities own
separate paraphernalia for such occasions — hun-
dreds of uniformly painted Venetian masts, hun-
dreds of shields and other emblems, and complete
outfits for illumination. These are owned by the
municipality and are held in readiness for any
festival, whether civic or military.

Using Paris as an instance, that city owns
thousands of feet of perforated gas-pipe, stored
away in the cellars of public buildings through-
out the districts. These are brought out when
needed, and laid along cornices or arched in mid-
air. The sections of pipe have been made to fit
a particular position, and, when lighted, outline
public structures in lines of waving lights. The

FESTIVAL DECORATIONS, CHICAGO, 1899

FESTIVAL ARCH, CHICAGO. 1!

"AVENUE OF FAME"— G. A. R. ENCAMPMENT, PHILADELPHIA, 1899

FRANK FURNESS, ARCHITECT

THE "COURT OF HONOR"— PEACE JUBILEE, PHILADELPHIA, I!

JOSEPH M. HUSTON, ARCHITECT

ARCHITECTURAL ANNUAL

235

THE "AVENUE OF FAME"

ILLUMINATED— G. A. R. ENCAMPMENT, PHILADELPHIA

FRANK FURNESS. ARCHITECT

Venetian masts are erected along miles of thoi ough-
fares and festooned from pole to pole. Myriads
of electric lights hang in graceful loops from these
masts and illumine the gayly-colored banners and
standards.

Upon special occasions new products are
brought forth. Probably a potentate is to be
given the freedom of the city — a survival of the
custom in feudal walled towns — and in front of
the modern gateway, the railroad station, a great
crimson canopy, ornamented with gold, will be
erected. The avenue will be richly carpeted and

walled with festive decorations ; or, if a public
funeral is to take place, the ceremonies are appro-
priately surrounded with sombre street pageantry.
Along the line of march is erected a series of
dignified and solemn altars, draped in jet black
and cold silver, emblazoned with the crest or ini-
tials of the deceased. Above each rests a tripod,
in which a sulphurous flame burns.

Should the event be a public address or the
review of a parade, stands are erected on a p1an
more monumental than we know of— even on a
colossal scale in some instances. Great colored

ARCHITECTURAL ANNUAL

237

awnings and beautifully enriched draperies carry out the tran-
sient and temporary nature of the event, while the splendor of
the surroundings impresses the guest with the efforts made to
honor him.

Local and timely symbolism exists in these displays ; and
because of the rapid strides our own country has made politically
and socially, we should find interest in the new ideas expressed
here.

Our first efforts in this direction have been characterized by
sham architecture.

The " Uewey Arch," that tangible evidence of enthusiasm bjr
the National Sculpture Society, although the best object-lesson we
have yet had, was an example of this sort in which the cart was
placed before the horse. It was an architectural problem without
the architect. Its sculpture was architectural sculpture through-
out, and granting that it was good sculpture, modern and appro-
priate in theme, the composition as a whole lacked unity and that
vitality of theme which the occasion demanded. It was timid,
archaeological and faulty in design, though beautiful to look upon.
The absence of unity, the confused effect of the terminal cluttered
columns, the ill-proportioned pedestals were faults scaicely over-
come by the intermediate twin columns with their floating figures
of victory. Here alone was the spirit of the occasion shown with
originality in both architecture and sculpture.

Perhaps the most monumental park entrance in the country
is the spacious plaza embellished with architectural accessories
in the city of Brooklyn. Its novel adjunct is of continual in-
terest to the citizens. An electric illuminated fountain is so
situated as to permit an unobstructed view by 10,000 or 15,000
people. Its mechanism is artfully concealed beneath the surface
in a basin 120 feet in diameter, located in the centre of the plaza.
When in operation the fountain illuminates and purifies the air on
hot, dry evenings, and greatly enhances the view by adding color
and life to the already beautiful surroundings. F. W. Darling-
ton, of Philadelphia, is the designer and builder.

His experience includes the erection of fountains of like
nature on both sides of the Atlantic, and he informs us that many
park commissioners are now considering the advisability of intro-
ducing fountains of a like nature in their respective cities.

The following from the Mail and Express, a New York daily,
gives a vivid idea of this new and harmless type of illumination :
"The new electric fountain, near the arch in Prospect Park,
Brooklyn, attracts large crowds nightly, and although it has
been in operation for two weeks, custom does not seem to stale
its infinite variety. The dazzling brilliancy of the lights, the
quickness with which the colors are changed and the beautiful
rainbow effects which the skilful operator in charge of the
electric buttons manages to obtain are magnets which draw spec-
tators from near and far. On the opening night fully ioo,coo
people watched the display. As soon as there is sufficient dark-
ness there is a sound of rushing water, and a great white column
rises into the air. About it are started other and smaller columns
of water, falling towards the centre. After a few moments under the white light the colors are
changed, and brilliant reds, blues and greens chase each other through the falling spray, and, inter-
mingling, form a panorama which is the delight of all the residents of Brooklyn.

' The man who operates the lights stands in an underground chamber, directly beneath the centre
of the fountain. Before him is a long board, in which is set a number of electric push buttons,
colored to indicate the colored glasses controlled by each. There are nearly 2,000 jets to the fountain,

ELECTRIC FOUNTAIN DISPLAYS

ARCHITECTURAL ANNUAL

239

PROSPECT PARK PLAZA

BROOKLYN. N. Y.

and it is estimated that it requires 100,000 gallons
of water an hour to operate it when all the jets
are being used."

The special lesson of the Brooklyn fountain,
however, comes not so much from the aesthetic
side as from the political and economic. Its com-
plete cost was less than S30,ooo. It is the prop-
erty of the city, although operated by the local
street railway. By such means does private initia-
tive furnish the adornment of a city for purposes
of its own commercial gain. In this case exists a
principle of continuous rotation, which, if more fre-
quently applied, would eliminate the opposition to
municipal embellishment on account of its expense.

G. A. R. ENCAMPMENT, PHILADELPHIA

FRANK FURNESS. ARCHITECT

CENTENNIAL ARCH, CLEVELAND, 0.

FESTIVAL DECORATIONS, CHICAGO, 1899

THE DIAMOND JUBILEE, LONDON, '97

DRAWN BY T. RAFFLES DAVISON

If our temporary street pageantry has been
forced and affected, it must not be forgotten that
in some cases these creations in staff have been
connected with festoons and rows of lights and
streamers of bunting in a truly festive way.
Falsely constructed columns have been so effec-
tually wreathed in real laurel that the columns
seemed quite reasonably real. All the while our
architects have been working toward something
of permanence, and such efforts, though frequently
roundabout, are commendable as object-lessons.
The work has been done with what materials
were at hand.

There is much to contend against in the pres-
ent political state of our municipalities. Where
lavishness exists it is rarely outside the council-
manic chambers, or less tangible material, the
swollen salary of underworked officials. First
of all, our people must settle down to conscien-
tious government and then will recognize the
value of permanent decorative land-marks. Until
then they have little need of " stage property "
decorations which are brought out with persistent
regularity to decorate thoroughfares, and add to
the influences of environment so prominent in
all festival events.

The fact that we are beginning to think of
unity of effect, that architects are now employed
in the planning of decorations for such occasions,
and that the people generally are giving evidence
of their appreciation of such work is significant
presage of deeper desires toward the city beau-
tiful.

G. A. R. ENCAMPMENT, 1

JOHN J. BOYLE, SC.

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WILLIAM EMERSON, ARCHITECT AND BORING & TILTON. CONSULTING ARCHITECTS

242

ARCHITECTURAL ANNUAL

THE PILLORY

THE PENNSYLVANIA STATE CAPITOL SCANDAL

LETTERS FROM THE MINUTES OF AN EXECUTIVE COMMITTEE MEETING OF THE ARCHI-
TECTURAL LEAGUE OF AMERICA

Philadelphia, October 14, 1899.
Henry Van Brunt, Esq., President of the Ameri-
can Institute of Architects, Kansas City, Mo.
My Dear. Sir : — At the instance of several
members of the Architectural League of America,
I am writing to try and ascertain whether action
upon the Pennsylvania State Capitol scandal will
be taken at the forthcoming reunion of the
American Institute of Architects.

Personally, I consider this a grave case of na-
tional importance, and while neither the officers
of the League nor myself desire to infringe upon
the province of the Institute, I feel that in the
interests of professional practice and common
honesty either the American Institute of Archi-
tects or the Architectural League of America
should make the second competition for the Penn-
sylvania State Capitol building a test case.
Joint action, of course, would be best.
The profession has reached a point where so
many high-handed unprofessional and even dis-
honorable actions have occurred (apparently with-
out prejudice to the standing of the perpetrators)
that the younger men are beginning to ask them-
selves whether honesty is really the best policy.
Therefore, my dear sir, my colleagues and my-
self await your reply with much interest.
Faithfully yours,
(Signed) Albert Keesey,

Pres. A. L. A.

Kansas City, Mo., October 16, 1899.
Albert Kelsey, Esq., President of the Architectural

League of America.

Dear Sir : — The subject referred to in your
letter of the 14th inst. was somewhat fully set
forth in the Report of the Board of Directors of
the American Institute of Architects at the last
convention, but I think no action was taken on it.

I quite agree with you that a scandal so con-
spicuous and so demoralizing to the dignity and
honor of our profession should not be permitted
to pass without some form of indignant rebuke.
I shall take occasion, at the meeting of the Board
of Directors which precedes the next annual
convention in November, to bring before it once
more this matter of the second competition for the
Pennsylvania State Capitol building, together
with your suggestions.

Meanwhile, if any course of action bas been
undertaken, I shall ask the Secretary of the Insti-
tute to communicate it to you. I think it very
likely that I shall refer to this question in the
annual address, unless the Board may think
proper before then to include some proposition
in their own report.

I am in hearty sympathy with your own sug-
gestions on this matter.

Yours truly,
(Signed) Henry Van Brunt,

Pres. A. I. A.

RESULT

FROM THE OFFICIAL PROCEEDINGS OF THE THIRTY-THIRD ANNUAL CONVENTION OF THE

AMERICAN INSTITUTE OF ARCHITECTS

' ' President Van Brunt : The Report of the Judiciary Committee will be read by Mr. Alfred Stone,
one of the committee, in the absence of the chairman of the committee, Mr. Tost.

" Mr. Stone : The Judiciary Committee have to report upon the several matters which have been
delegated to it by the Board of Directors, and which have formerly been considered by the Board of
Directors. Our report is as follows :

" REPORT OF JUDICIARY COMMITTEE.

" The members of the Judiciary Committee here present beg leave to report that in the case of the
Philadelphia Chapter versus Henry Ives Cobb they were not individually aware of the status of the
case and of the desire for urgency until the last week in October of the current year ; that, as stated
in the report of the committee to the Board of Directors, there was no evidence that Mr. Cobb had
received notice of the meeting held in New York, November 4th inst., and that since then a commu-
nication from Mr. Cobb had been received stating that the notice of the meeting which had been sent
to him did not reach him at Washington until after the hour at which the meeting was called, but
that his presence at the convention has made an interview with him possible.

ARCHITECTURAL ANNUAL

243

" Your committee finds that Mr. Cobb's statement of the case is such as to convince it that in jus-
tice to both the Philadelphia Chapter and to Mr. Cobb, and in order that the Institute may
not take any false step, it cannot sufficiently investigate the case so as to report at this
time, and therefore respectfully requests that further time be given it to consider the case
and make up a report of its findings.

"Alfred stone,
"Levi T. Scofield."

TWO YEARS PREVIOUS TO THE TIME THE ABOVE REPORT WAS RENDERED
THE FOLLOWING ACTION HAD BEEN TAKEN

As a public declaration of the Club's standing, and of professional ethics, the T- Square Club passed

th: following resolutions and had them published in the leading architectural journals

of the United States and in the Philadelphia Daily Fress.

Philadelphia, September 9, 1897.

Hon. Daniel H. Hastings, Chairman of the Capitol
Building Commission, Executive Department,
Harrisburg, Pa.

Dear Sir:— Kindly present the following
preamble and resolutions to the Capitol Building
Commission as the expression of opinion of the
T-Square Club :

Whereas, & Co., of Philadelphia,

and & , of New York Cily,

having taken part in the competition for the new
Capitol Buildings at Harrisburg, and knowing
and believing that their designs are not among
the eight selected by the Board of Experts, have
appeared before the Commission through their
attorneys, and have urged the Commission to set
aside the explicit terms of the program and to
declare the competition void,

Now, therefore, be it resolved, That such con-
duct is eminently disgraceful, that it is grossly
unjust to the other competitors and damaging to
the profession at large, and that, if successful, it
would deprive the public of the best results of
the competition.

And be it further resolved, That we hereby
commend the action of the Commissioners in
formulating most admirable rules for the conduct
of the competition, and we respectfully point out
that the only legal and honorable termination of
the competition lies in appointing the author of
one of the eight designs chosen by the experts
as architect of the Capitol.
(Signed)
George Bispham Page,

Secretary T-Square Club.

September 17, 1897.

The following resolutions were adopted by
the T-Square Club at a meeting of the Executive
Committee held to-day :

Whereas, A majority of the State Capitol
Commission has violated its agreement with com-
peting architects ; has treated its able and con-

scientious expert adviser, Prof. Warren P. Laird,
with contempt ; has discredited, not only him,
but the other members of the expert jury, Mr.
Carrere aud Mr. Cook, and has made statements
to justify its dishonorable action, which state-
ments are denounced as unfair and untrue, both
by the jury and by the Governor, as head of the
Commission, now, therefore, be it

Resolved, By the T-Square Club, that the said
majority of the Commission, in violating their
agreement with competing architects, and in dis-
regarding the recommendations of their own ex-
perts and the warnings of the Governor, have
proved themselves unfit to be trusted, and should
be impeached.

Resolved, That the T-Square Club denounces
and repudiates any member of the profession of
architecture who has lent or shall lend himself to
the dishonorable action of the Commission.

Resolved, That the published statements of
Senator McCarrell, justifying the repudiation of
the contract and of the experts' report, are mis-
leading and false, for the following reasons :

(1) The terms of the program were mandatory
as to the areas of the rooms required — advisory
only as to the total cubic contents of the build-
ing, and silent on the subject of materials or
finish intended, the competition being expressly
framed to select an architect on the basis of quali-
fications demonstrated by the designs.

(2) The economy of any design being deter-
mined by three factors — size, simplicity of con-
struction and materials — it is evident that a
design of a given size would vary in cost ac-
cording to the materials used. From Senator
McCarrell's published quotations from the ex-
perts' report, it is plain that the designs recom-
mended could, in the judgment of the experts,
be built within the appropriation.

Resolved, That the architectural profession
and the citizens of this commonwealth are warned
that the evident intention of a majority of the
Commission to select an architect without refer

244

ARCHITECTURAL ANNUAL

ence to the terms of the contract they have made
is a public scandal which calls for immediate
correction.

Resolved, That this Club pledges itself to the
distinguished and honorable Board of Experts
to uphold them and the reputable element in
the profession in their protest against the dis-

graceful action of the majority of the Commis-
sion.

(Signed) Horace H. Burrelx,

Secretary pro tern.
David Knickerbacker Boyd,

President.

RESULT

Upon November 4, 1897, a letter was written by the Secretary to a member of the Club, enclosing
the above resolutions, stating that the Executive Committee had learned that he had submitted draw-
ings in the second competition for the Pennsylvania State Capitol Building, and that he was therefore
requested to resign from the T-Square Club. In reply, he requested a hearing, which was granted.

After hearing his explanations, on November 13, 1897, the Secretary again wrote, stating that
the Executive Committee had carefully considered the matter, and regretted that it could see no
reason for reconsidering its action.

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COMPETITION

CARRERE & HASTINGS. ARCHITECTS

246

ARCHITECTURAL ANNUAL

THE DEWEY ARCH

THE Dewey Arch and its accessories give am-
ple evidence of the value of organized art.
The present age is one of centralization, of
organized efforts in every sphere of life. In this
instance great things were achieved by the com-
bined forces of New York's sculptors— things
that could never have been accomplished if these
men had done their work as individuals.

All praise is due the National Sculptors' So-
ciety, for it has created a masterpiece in its own
field of art that will live in the memory of a
whole nation. The men who gave time, money —
and some of them — their lives, to such a work
deserve the commendation of all. Both young
and old, masters and pupils worked with heroic
effort to produce a fit tribute to the man whom
the nation loved. The subject was indeed inspir-

ing, but much more than inspiration was needed
to carry these brave men through such a colossal
project.

This production of masterful sculpture will
stand as one of the greatest object lessons in civic
adornment. In the hurry of our American life
we forget the opportunities that lie open to us in
the beautifying of our environments. It is here
that we lose the poetry of our existence ; we
glance around us and our worried brains find no
rest ; our eyes, wearied by continual scanning of
bills and briefs, find no change when directed
toward the outer world with its office-building,
and office-building, and office building next to
that. The Dewey Arch has awakened us to a
realization of our need for this adornment, and
the street pageantries of Philadelphia during its

"Peace Jubilee" and its " G. A. R. Encamp-
ment " have called forth the same desires. Chi-
cago is not far behind, for its festival pageantry
was quite an eligible decoration of that very
businesslike city

That The National Sculpture Society per-
formed great work is unquestioned, and criti-
cisms upon the sculpture of the Arch and its
approaches would be ungrateful, unworthy and
condemnable. But criticism of their work from
an architectural standpoint as to the architectu-
ral treatment of their subject cannot be withheld.
Mr. Charles Rollinson Lamb, one of the first pro-
moters of the scheme, and the designer of the
arch, is an artist, rather than an architect, and
is therefore all the more to be congratulated upon
an architectural ability far above that of the aver-
age regular practitioner in the profession itself.
As a whole, the composition strikes a real note
of grandeur, faulty, perhaps, in its architectural
significance, but nevertheless grand in the am-
bitious and striking effect of the entire structure.

In the Christmas number of Scribner' s, Mr.
Russell Sturgis viewed the subject in the light
of its achievements in sculpture. We, in our
turn, contend that it was an architectural com-
position. Scarcely a single part of the work can
be considered complete in itself, and every part
is dependent upon the architectural structure.
We therefore consider ourselves amply justified
in treating it as architectural sculpture.

We fully agree with Mr. Sturgis when he
says: "Infinite credit is due to the bold men
who knew their own and their comrades' power
and devotion, and who dared undertake such a
piece of associated sculpture, to be completed in
two months. They brought forth something
which the city — which of all great cities is sup-
posed to have the least civic pride — may boast
of for many a year to come."

We can readily understand the pride of the
Sculptors' Society in their desire to accomplish
the entire task without the assistance of any one
outside their body. Such enthusiasm and enter-
prise cannot be praised too highly, but in review-
ing the result we must judge it for what it is.
Those who will view it in the future, if it is
preserved in more durable form, will not have at
hand the information that the Sculptors' Society
accomplished the work alone. They will criticise
and pass judgment upon the arch according to
the true measures of art regardless of the history
of its production.

Judging the arch and its approaches from

ARCHITECTURAL ANNUAL

247

this standpoint it is amateurish and archa'ological
in its composition. First of all, the suitability
of the arch to its site has been apparently
left entirely out of the question ; it fits badly
and does not adapt itself to the system of the
thoroughfares. Beside the general planning of
the arch being at fault, criticism must attach to
the placing of Mr. J. Q A. Ward's impressive
group, " Victory on the vSea." This faced down
Broadway and the parade approached it from the
rear. The Admiral's reviewing stand being
placed behind the arch, not only prevented the
Hero of Manila from passing under the tribute
raised in his honor, but also compelled him to
review the troops from behind it !

When we consider the appropriateness of the
sculpture to the theme, the inappropriate archi-
tecture strikes us more forcibly. The modern

spirit of all the groups, the latest rapid fire guns,
the homely every-day people of "Peace," the
portrait statues of American admirals, gave to
the scene a symbol of contemporary life and a
record of our history. The anchors, cordage and
things nautical gave it almost the salty odor of
the farther seas. Victory and Peace on the sea
seemed to breathe in the almost animate figures
of everj- group.

How much better would it have been to have
had no unharmonious note in the work ! Had
the architecture spoken of contemporary matters
in just as effective a way as the sculpture did,
nothing would have been lacking in the master-
piece. To copy the Arch of Titus showed most
apparent timidity and indecision. What had an
antique architectural structure to do with a
modern American triumph ? Granting that the

ACCESSORIES TO THE "DEWEY" ARCH, NEW YORK, 1899

248

ARCHITECTURAL ANNUAL

Porte Saint Denis and the Arc de Triomphe are
modelled upon Roman prototypes, they are very
unlike the originals, but even these examples
should not alter our attitude toward the present
requirements.

In the accessories do we especially miss the
architect. While the twin columns represent a
good thought, they were poorly detailed and set
upon pedestals so inorganic that the stability ap-
pears a rather precarious matter. They evidence
an ignorance of the basic laws of creative archi-
tecture, although it is in them only that architec-
ture and sculpture have been worked out with har-
monious originality. The cluster of three columns
at both ends of the avenue spoiled the symmetry
of the design and showed a perfect helplessness.
They appeared a very primitive attempt upon the
designer's part at dignity, but upon deeper study
their significance descended to nothing more
than an endeavor to make a proper corner to the
design.

Probably the worst error of all was in build-
ing up the statuary upon the pedestals and
foundations of these triple columns. The
sculptors resorted to almost heroic means in the
draping of a cloth or the posing of a figure to

hide the defects of architecture beneath, but the
lack of unity and good proportion was still most
apparent. Mr. Russell Sturgis believes: "Not
only where a sculptor was deceived or mistaken
as to the depth of the pedestal top, or broad
shelf upon which his group was to stand — not
only in such a case as that, but in almost every
instance the shortcomings of the groups have been
most marked in this, that they are not as grace-
fully, not as nobly, not as amply disposed as the
artist of each could have disposed them with
more time and thought." However much
"time and thought" entered into the quality of
the sculpture it is not for us to judge, but the
faults of architecture were most certainly not the
faults of haste, but were directly traceable to
lack of training — the inability to see a thing in
its entirety and to treat it as such from beginning
to end.

The master mind was lacking. Although,
as we have said, the average architect in New
York City would have done no better, there
are two or three men there who would have
grasped the scheme in its entirety just as each
sculptor grasped the necessities of the group
assigned him. Such men would have designed

THE "DEWEY" ARCH AND ACCESSORIES, NEW YORK, 1899

: -A-- .

250

ARCHITECTURAL ANNUAL

a unit, a group of architectural masses more
in scale with the site and more in harmony with
the occasion. Then the architecture might
have possessed the spirit of the new navy,
the spirit of modern thought and progress and
the arch would have had just cause to demand
its place as a monument of our dawning as
New America.

The opportunity is even now at hand to cor-
rect the errors that now exist in the architectural
features of the arch. If money is raised to per-
petuate it, let us hope that the architecture may
be made as effective, as impressive and as signifi-
cant as the best group of sculptured art in its
composition.

A SUGGESTION FROM " THE AMERICAN
ARCHITECT »

" New York owes to a distinguished engineer,
Mr. Alfred B. Boiler, one of the best suggestions
that have yet been made in regard to the placing
of monuments. Lamenting, as every one must,
the insignificant and unworthy situations of
nearly all the monuments in New York, he pro-
poses that, in the designing of the bridges and
viaducts which are rapidly multiplying around
the city, provision should be made for monumen-
tal ornaments. He calls attention to the new
Alexander III Bridge, in Paris, which, beautiful
and impressive as it is, might have been made
far more so if it had been possible to give it
ampler space, and says, most truly, that the wide

rivers, the distant views and the general grandeur
of scale of the scenery around New York lend
themselves in an extraordinary degree to the pro-
duction of imposing artistic effects. Most of our
readers have probably many times been impressed
with the quiet, almost melancholy, beauty of the
High Bridge, whose very simplicity, combined
with its landscape surroundings, makes it one of
the most charming objects that New York has to
show ; and it is easy to imagine how, for in-
stance, the Grant Monument, in a very different
form, might have been arranged in connection
with this, or some more carefully designed via-
duct, so as to retain the advantage of the land-
scape setting, and in connection with it to pro-
duce an effect unequalled by that of any other
monument in the world. Of course, it would take
consummate talent to design a monument which
would harmonize with such a setting, but talent
in such matters is now more easily found here
than a favorable opportunity for its exercise ;
and if such sites can be arranged, there will be
no difficulty in procuring designs worthy of them.
Mr. Boiler proposes that, before the sad mistake
is committed of erecting the Dewey Arch in per-
manent form in the middle of a crowded street,
under the shadow of a row of enormous hotels,
an attempt shall be made to combine it with one
of the many bridges and viaducts which are now
contemplated in the upper part of the city, and
in connection with which it would have a dignity
which it could never have in Madison Square."

MnmtfB

ARCHITECTURAL ANNUAL

251

THE MARQUISE

CONSTRUCTION in metal and glass has
been so largely confined to purely utilita-
rian purposes in the United States that
its art possibilities have been sadly neglected.
However, it has a future.

The marquise, to a certain extent, takes the
place of a porch roof. Coming, as it does, at
conspicuous places on a building, it therefore
requires a finished and artistic treatment.

In the first place, a marquise, properly con-
sidered, is an integral part of the architectural
design, and, consequently, provision must be

THE SOUTH CENTRAL STATION, BOSTON

made for its reception when the walls that
receive and support it are designed. If it is to
be on a commercial building, it demands a com-
mercial treatment, and if an architect makes use
of his opportunities he will design it in a way
suitable to the display of signs and sub-signs at
the most advantageous points. When well
studied in conjunction with show windows it
gives an unusually good opportunity for illumina-
tion, and the interior display will attract people

from along the sidewalk, either because of incle-
ment weather or on account of the sparkling glass
and electricity.

The marquise ceases to be a marquise when
perpendicular supports are used, but it can ex-
tend outward almost any distance, provided it is
elevated in proportion. Notwithstanding this,
it should never overhang the sidewalk curb of a
regular city thoroughfare, for it can be readily
seen that such a projection would greatly inter-
fere with the harmony of perspective looking
down the street. But, in the case of a public
building the usefulness of the marquise is gone
unless the carriage drive turns under it, and this
is generally possible, for these structures usually
stand back from the regular street alignment,
and the advantages of the marquise can be
gained without intercepting the view.

The best marquises are the lightest, that is,
considered from a structural standpoint, and it
must be so constructed that the minimum ob-
scuring of daylight occurs. The ideal marquise,
then, would be entirely of plate glass. An ap-
pearance of lightness is gained by tipping it up
so as to drain back to the building. Such mar-
quises are usually the simplest and best. In per-
spective they conform well with the architecture,
and, considered practically, they are the easiest
to drain. In Boston the use of this very essen-
tial feature on the new South Central Station

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From Le Figaro Illiistre

A RESTAURANT IN THE BOIS DE BOULOGNE, PARIS

Front La Construction Modernt

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TYPE OF MARQUISE OVER THE ENTRANCES OF A DEPARTMENT STORE, PARIS

ARCHITECTURAL ANNUAL

255

gives the general effect a particularly heavy char-
acter. The interiors are much darkened, because
the roof slopes down from the building, besides,
the relation of the marquise to the wall is but a
clumsy adjustment.

Over private doorways the marquise is fre-
quently used to replace a porte cochere, especially
where light is required. Here the art element and
aesthetic features bave greater scope.

Wrought-iron forms of beauty should be de-
signed, and a decorative ensemble should be
striven for. Not only is the result sure to be
imposing and effective, but, in the case of a costly
mansion, it may become one of the principal
features of the facade. This holds true in coun-
try residences as well as in city houses, providing
the}- are formally treated.

The arcaded streets of Paris and other conti-
nental cities give pedestrians a cohered walk at a
great sacrifice of light and ventilation to the lower
stories, to say nothing of the contracting of the
breathing space between opposite buildings. But
the occasional marquise, that extends a block or
two, offers as good shelter without the discom-
forts of the arcade, and maintains a respectable
width between opposite structures, and a proper

relation between public and private vested inter-
ests.

Allied to the marquise is the glassed-in porch.
These are particularly effective in the country,
where large sheets of plate glass extend from
floor to ceiling in light metal frames with but a
railing or a little tracery above to intercept the
view. This serves to remind one that he is not
out-of-doors. Sun-parlors are made particularly
cheerful by the use of this modified marquise,
and conservatories may even add to the natural
beaut}- within them by light treatment of the
iron and glass used in their construction.

But — the marquise is our subject. It may be
made to conform to any shape or position, and,
when understand ingly used, bent glass and grace-
fully curved metal and possibly a sculptured metal
cornice together produce a buoyant effect not to
be obtained with other mediums or in other forms
of construction. As practical devices alone they
are invaluable, and, as architectural accessories,
they may be made truly modern adjuncts of
beauty, expressing the individual tastes of the
owner or corporation that uses them. In this
way they are peculiarly successful from both a
utilitarian and an aesthetic standpoint.

256

ARCHITECTURAL ANNUAL

THE FIFTH INTERNATIONAL CONGRESS

OF ARCHITECTS

TO BE HELD IN PARIS FROM JULY 29th TO AUGUST 4th, INCLUSIVE, 1900

AN event of no little importance in the Paris
Exposition will be an International Con-
gress of Architects, a continuation of the
movement so worthily carried on by the Fourth
International Congress held at Brussels in 1897.
In the latter, Mr. George O. Totten, of Wash-
ington, and Mr. W. L. B. Jenney, of Chicago,
were appointed Vice-Presidents to represent the
United States in the present Congress. A
committee of prominent French architects are
in charge of the arrangements, and the entire
Congress is under government auspices. The
work has been so systematically divided that
a successful convention is the most natural
sequence. A committee composed of Presidents
d ' lionneur and artists, both native and foreign,
will act as patrons.

The by-laws, prescribed by the French
Government, fix the date of meeting from
July 29th to the evening of August 4th,
1900. The minimum assessment of contribut-
ing members has been determined upon as
100 francs, and of membres adherents or
visiting delegates, 55 francs. By the rules
of the convention, any architect is eligible who
notifies M. Lucas of his intentions to attend and
who registers as a visiting member.

Governments and societies have been asked to
enroll themselves among the number of con-
tributing and nominal members, and to send a
delegate to the Congress as their representative.

Many questions have been entered on the
program, all of which should present an
interest internationally. Among them are:

(1) The Artistic Side of Works of Architec-
ture, this question being continued on the
program from the Fourth Congress of 1897.

(2) Education in Architecture (higher
studies and professional training), this question
being continued from the Paris Congress of 1889
and the Brussels Congress of 1897.

(3) The Workingman's Dwelling-house in All
Countries, by request of the British architects.

An exhibition of original drawings by
architects, visits to monuments and points of
architectural interest, a musical evening and
a banquet will be features of the Congress.
Contributing or subscribing members will be
entitled to a Personal Card and Badge of the
Congress as well as to all the publications
(collections of preparatory documents, verbal

discussions and full reports), which will be
published by the Government, or the Bureau,
and by the Committee. Such cards, badges and
publications will be presented to presidents of
honor and to delegates of foreign governments.
The Bureau of the Congress is preparing the
first collection of documents and these will be
distributed in the early summer. It will contain
the proceedings of the commission to organize
this Congress, a list of the members of the
Committee of Patronage, the Congress By-Laws,
in full, and a partial list of contributing and
subscribing members.

M. Alfred Normand, Membre dTnstitut, is
President of the Bureau of the Organization
Committee, and M. Maurice Poupinel is General
Secretary. M. Charles Lucas, 23, Rue de Dun-
kerque, is in charge of the foreign relations of
the Congress.

Such an International Congress of Architects
will be an attractive feature of the series of
great conventions in Paris during the Exposi-
tion. In many of the professions this is the first
step toward an international meeting, but the
architects are able to call this their Fifth Con-
gress. That it will be an assembly of the sincere
and conscientious members of the architectural
profession is well assured by the character of
previous international conventions, especially by
the Congress of 1897.

An editorial in The Brickbuilder, some years
ago, in speaking of the Fourth International Con-
gress of Architects that had been recently held
in Brussels, said, in conclusion: "Aside from
the business transacted, the one thing which
was most worthy of note was the individual
character of the distinguished delegates and
the high personal esteem in which they were
held. There were present not only architects,
but statesmen, three members of the Institute
of France, one deputy, one member of the Italian
parliament and several French representatives,
besides others in political and municipal affairs
from many countries. That Leopold, King ot
the Belgians, should have come up from Ostend
especially to open the congress is sufficient
proof of the high esteem in which our profession
is held in foreign countries.

"It is to be hoped," the editorial went on to
say, "that the next congress of architects,
which is to be held in connection with the

ARCHITECTURAL ANNUAL

257

International Exhibition in Paris in 1900, may
be more fully attended by our countrymen.
The architectural efforts of America are hardly
appreciated at all in Europe outside of England.

"While our architecture has not the past to
boast of, which is so valuable a factor in European
art, our progress during the past two decades has
been along lines of which we have every reason
to be proud, and in an international congress
of this description our delegates ought to be
able to both give and receive."

Such a comment is just as applicable to the
approaching Congress of 1900, for some of our
eminent architects are every bit as able "to
receive" as they were when The Brickbuilder' s
editorial was written. There are many lessons

to learn, and not least among them the dignity
of a congress itself. Abroad, the profession is
held in such esteem that the king of the country
in which the Congress of 1897 met officially
opened the proceedings in person. In such an
august assembly some American architects, from
acquaintance with national conventions at home,
may feel somewhat ill at ease. An international
convention is organized as an opportunity for
dignified discussion and for serious consideration
of architectural problems, instead of for vain-
glorious boastings and a promiscuous exchange
of compliments. It is safe to predict that no
excursions at the expense of manufacturing
companies will be accepted, nor will punch be
quaffed from miniature sample bath-tubs.

Fiom Berliner Architeklutwelt

COMPOSITION BY OTTO REITH

From Berliner Architekturwelt

COMPOSITION BY OTTO REITH

258

ARCHITECTURAL ANNUAL

A PAPER BY EDWIN HENRI OLIVER, OF NEW

ORLEANS

READ AT THE CLEVELAND CONVENTION

ONE who takes a broad view of the prac-
tice of architecture in our country will
see that there are at least four distinct
fields of labor, the boundaries of which are irrev-
ocably fixed by nature ; and all of these regions
are clearly distinguished by variations of climate
and other conditions. I refer to the East, the
West, the North and the South. We have been
recently informed by the politicians that we are
now a united county, and that there is no North
and no South. Our geography, however, flatly
denies these statements.

The development of " a national indigenous
style" appears to be extremely difficult in a
country that sweeps over such vast expanses and
which is naturally divided into distinct regions,
inhabited by a heterogeneous people having no
traditions, and who are destined to develop strong
provincialisms under the perpetual influence of
climate and local traditions that time will create.

A style, to be indigenous and natural under
such conditions, must necessarily be provincial to
be fit and proper for the particular region in
which it is developed ; thus we will have at least
four natural styles in our country, all having
more or less resemblance to each other, which
general resemblance we may call national. Thus
far, very little progress has been made in the
development of style. The architectural jour-
nals, books and photographs have been the agents
to feed us on the dry bones of the past. A great
interest taken in this subject during the present
year is an indication of unrest and dissatisfaction
with present methods ; and this general dissatis-
faction will the more easily permit of the free
development of natural styles.

It is strange, but nevertheless true, that the
differences in climate are expressed in the archi-
tecture of the European countries to-day. The
mechanical methods of building, as well as the
refinements of style maintained in the rural dis-
tricts of France, Germany, Italy, Spain, etc.,
differ from those of five centuries ago only in
proportion to the advance of civilization in gen-
eral ; and they differ contemporaneously one from
another as much now as they did in the Middle
Ages. Even the great cities which are planted
along the great highways of the world and which
are subject to the greatest cosmopolitan influ-
ences remain almost as distinct in their architec-
tural characters as they were when they were the

strongholds of liberty against the feudal system.
The common and distinctive architectural forms
in these older communities of the world are the
result of established customs and ancient tradi-
tions, which have their rools not only in the
characteristics of politics, race and religion, but
in the very climate and soil of the country which
have shaped the popular sentiments of the people,
as well as produced the materials for building,
and through these have dictated the forms by
which they are most readily adapted to meet the
wants of mankind.

Why is it, then, that we are so fond of
masquerading in the cast-off garments of the pnst
and care so little for creating an architecture that
is natural to ourselves ? To my mind, there are
two or three reasons quite clear. In the first
place, we rely too much on academic formulas,
formulas that were made many centuries ago by
other races and under conditions that were alto-
gether unlike those under which we live. There
seems to be a sort of continuous conflict be-
tween the discipline of the schools and the prac-
tical requirements of the day. If the prejudices
of the architectural colleges are permitted to pre-
vail, a correct and scholarly array of classic
contours and measures will be faithfully repro-
duced, and there will be an undesirable same-
ness in the architecture of all the climatic zones
of the country at the expense of practical re-
quirements and the natural love of variety. If,
on the other hand, the practical requirements
are provided for in a natural and common-sense
way, there is likely to be a palpable offence
against some of the most venerable forms of
design. But there is a conflict still more ap-
parent and still more incessant between those
formulas and the methods of structure imposed
upon building by the application of modern
science to all its details. The progress of
mechanical invention is so rapid and constant
that it is almost impossible for the architect to
keep abreast of it with this work. These me-
chanical inventions for all classes of buildings
are at perpetual warfare with the principles of
Vitruvius, which guided our forefathers. If
the office of the architect is hospitable to these
modern influences, there must be a revolution.
The result of this revolution will constitute the
style of the twentieth century.

It is pathetic to pass over the South and see

ARCHITECTURAL ANNUAL

259

towns of 20,000 or more energetic, hospitable
and enterprising people with houses and other
private and public buildings built in what is
miscalled the " modern style " in distinction from
the Colonial, but not one of these will be found
to be really good, grammatically constructed or
conceived in a spirit of subordination to any type
of art. They are carelessly compounded of
exotic and heterogeneous elements, and so far as
their decorative or architectural character is con-
cerned, there is no expression of climatic or other
natural conditions in them.

The architecture of the South at the present
time is anything else than indigenous. Most of
the buildings recently built in the Sunn}' South
are modelled after those of the Northern cities
with a lack of fitness that is surprising. The
undisciplined invention of architectural forms
which is so general, produces many travesties of
art, and the fact that none of the experiments at
style give such permanent satisfaction as to cause
a continuance, but that they are succeeded by
new experiments of illiterate fancy — these
things seem to indicate a general desire for a

more orderly system of design that will be
in touch with the climatic and social condi-
tions of the people ; a style that is broad and
generous, plain and temperate, a style that may
in all truth and lightness of heart be called
Southern.

There is not a more excellent opportunity to
develop a natural and indigenous style to-day
than in the city of New Orleans. Having cli-
matic conditions that make it unique among all
other American cities, and, indeed, among all of
the European cities, with the possible exception
of The Hague and Venice; having, of all the large
cities, the largest proportion of Latin descendants
from the art-loving nations of France, Italy and
Spain, and being the nearest and the most in
touch with the great Latin countries of Mexico
and South America— these are conditions that
will affect our architecture to a great extent, as it
has previously done, if not create in time, a dis-
tinct style of its own. But the architects of the
South should not set themselves against these
natural conditions if they desire to create an
architecture that is natural.

260

ARCHITECTURAL ANNUAL

SOME LESSONS FROM THE UNITED STATES

REPRINTED FROM "THE BUILDER "—LONDON, NOVEMBER 4, 1899

WE have in these columns frequently
pointed out that the pessimistic fore-
bodings of the commercial downfall of
England were absurd, because unless there is
an actual deterioration in a people commercial
or any other kind of decay is impossible. There
may be overconfidence, too great an inapprecia-
tion of the movements of society in other coun-
tries, but these arise to a certain extent from a
feeling of power.

Whether, however, it is sufficiently realized
in this country how keen is the determination of
Americans to obtain commercial business outside
their own borders, and to compete with England
in all the markets of the world, may be doubted.
Such competition must necessarily become keener
year by year, for though in the United States
the population increases, yet manufactories and
works of all sorts equally increase, and thus the
internal competition causes a desire to move with
the markets outside the United States.

In one particular, also, America has a great
natural advantage over England, namely, in the
gre*at extent of itswaterways. Large and power-
ful streams are to be found in all parts of the con-
tinent and more and more water is being har-
nessed and made to do industrial work. The
Niagara Falls, the strongest water power in the
world, are already, without any perceptible
diminution of their forces, the motive power of
important works. Further to the west the dif-
ference in level between Lakes Superior and
Huron causes the rapids of Sault Ste. Marie.
This fall of water is now also being utilized.
The largest pulp mills in the world are in suc-
cessful operation on what a few years ago was a
barren island, and other undertakings, for the
manufacture of ferro-nickel, will presently be
working on the same spot. These are but two
instances out of many.

There is yet another point to be borne in
mind. The American is a great traveller. His
mind is keen and receptive. When he goes out-
side of America his intellect is ever on the alert.
He may go ostensibly on pleasure, but he has an
eye to business. Moreover, the ease and com-
fort of the ocean communication between Europe
and America are such that the American business
man thinks little or nothing of running across to
Europe for a short time. Many Americans are
thus as well acquainted with European wants

and European methods of work and business as
ourselves. But the Englishman does not make
himself, as a rule, equally well acquainted with
what is going on in America. Nor does the
American confine his excursions to Europe ; he
will pass over into Mexico, make a trip to Japan
or China, not with the same every-day air as
when he crosses to Europe, but still in the ordi-
nary way of business. The American is thus
rapidly becoming the widest-minded judge of the
commercial needs of the world. Distances in
the United States are so great that movement in
Europe is mere child's play, and hence he roams
over the Continent watching the business methods
of every country. If a practical moral be drawn
from this it is that English manufacturers and
men of business need to develop "commercial
travelling." They must not only seek business,
but become acquainted with the needs of buyers
the world over.

Perhaps, however, the most striking lesson
which can be learnt from the United States at
the present time is the efficiency of the educational
system. It has been necessary many times to re-
peat in these columns, when referring to the
question of technical education, that the basis of
any such latter system is a good general educa-
tion. In the United States technical education
is far in advance of this country. The chief col-
lege for its teaching, the Massachusetts Institute
of Technology, at Boston, has over 1,000 students,
and turns out every year a number of young
men of the highest qualifications and training —
all bent on making their mark and their way in
life. In addition, there are technical departments
at different colleges and universities, so that the
general technical education of the United States
is far ahead of that in England. But this high
standard could never have been reached had it
not been for the universal and admirable general
education which every one enjoys without much
cost to parents. It is the common education of
the United States which makes it a country of
real equality from a social point of view, and
enables ability to come to the top. It is this
universal system which enables technical educa-
tion to be carrjed on as it is. There is a natural
gradation from the school system to the college
system — in some instances to classical studies, in
others to technical studies. Technical education
is not the unsystematic, almost despised, business

ARCHITECTURAL ANNUAL

261

it is in this country. It is recognized as a neces-
sity in the United States — as a part of the higher
education of the country for a certain section of
the youth of the nation.

Moreover, when we note the effect of the
general education of the country as a prepara-
tion for technical education, it must never be for-
gotten that, supplementary to all kinds of educa-
tion, there is the free library system, which
places within the reach of every man, however
poor, the power, by his own reading, of improv-
ing his earlier education and of becoming
acquainted with the intellectual movement of
the world. Nor can the value of a system of
free libraries as part of the ordinary equipment
of a community, in regard to the occupation of
the leisure hours of artisans, clerks and every
workingman, be overestimated. How wide-
spread is this system in the United States is not
realized in this country, nor can we here enter
into details. One illustration may, however, be
given. In the State of Massachusetts there are
687 free secular libraries, and only seven towns
in that State are without these institutions.
These towns are going back, and they represent
only one-half of 1 per cent, of the population.
In other words, the entire population of the
State of Massachusetts, to the extent of 99 ) 2 per
cent., has a library within its reach.

It is easy, when the extent and completeness
of the American system of technical education
is noted, to see how so much mechanical ingen-
uity is diffused over the United States. At pres-
ent there is abundant occupation for all this
trained intellect ; for, populous as are the United
States, the country is so immense that the mechan-
ical work which has still to be done is equally
extensive. As population increases, the pioneer
system of railways, for example, has to be super-
seded by a completer system, by better permanent
ways, stronger bridges ; branches have to be
built and stations erected. The railways of the
United States alone can, therefore, absorb any
amount of skilled work. Nevertheless, English
manufacturers and others must reckon with this
factor of a highly-trained, numerous and ener-
getic class of men, the results of whose labor and
ingenuity may affect us in our own and in foreign
markets.

There is yet another point which the English
manufacturer would do well to bear in mind.
There is no probability whatever of the Protec-
tionist tariff being substantially altered. Changes
may be made, duties may and possibly will be
lowered from time to time ; but, by the admis-
sion even of those who are not benighted protec-

tionists, the raising of revenue by means of
numerous and even high duties is not disliked by
the people ; and what is more important, no sub-
stitute for such duties can apparently be found.
The Federal Constitution of the United States
makes it more difficult than in England to devise
systems of taxation. The income tax, which in
this country is so easy a method of raising rev-
enue, is impossible. Hence, apart altogether
from any question of protecting native indus-
tries by means of duties, it appears unlikely that
any substantial change in the tariff will be made.
Consequently, the English manufacturer will not
compete on equal terms in the American market,
and is never likely to have the chance, and must
make his plans accordingly.

If, leaving these larger considerations, we
turn to some matters of every-day interest, there
are several in regard to which we in England
may well take some lessons. First and foremost
is the development of the system of electric light-
ing, which may now be said to be universal —
every town, great or small, is lit by electricity.
The American, though in his own house he has
a liking for shade, yet wishes to have his streets
and stations as light as he can make them during
the hours of darkness. Hence he has adopted
electric light everywhere. Equally also he
wishes to communicate, whether for business or
other purposes, as quickly as possible. Hence
telephones are used so widely and so constantly
as to have become a necessary factor in daily
life. The convenience, the saving of time and
money which an efficient and universal tele-
phonic system brings about cannot be realized
until it is seen in operation. Again, the system
of tramcars, worked in rapid succession and at a
cheap rate, and very widely, has made personal
communication easy and rapid to a degree which
also cannot well be understood without a trial.
Life to large numbers of workers is rendered
more bearable by the ability to pass quickly and
without fatigue from place to place. Equally
there are points upon which adverse criticism may
be brought to bear, but these are very largely
necessarily caused by natural or artificial condi-
tions. The frequency of level crossings and the
unprotected state of the railway tracks arise from
the greatness of distances ; bad roads, because
rural population is sparse and the traffic on them
is slight and, to a large degree, purely agricul-
tural. As soon as the necessity for a good road
arises it is made. In the United States there is a
community still markedly in a stage of national
youth, from which, however, it is well that older
countries should learn what they can.

THE DIRECTORY

OF THE

Architectural Annual

A CONDENSED REPORT OF THE WORK OF THE LEADING

ARCHITECTURAL SOCIETIES AND SCHOOLS

OF THE COUNTRY

BOOK REVIEWS AND INDEX TO ARCHITECTURAL PERIODICALS

•«

THE AMERICAN SCHOOL OF ARCHITECTURE IN ROME

CHARLES F. McKIM, President. THEODORE N. ELY, Vice-President.

SAMUEL A. B. ABBOTT, Director.

H. SIDDONS MOWBRAY, Secretary and Treasurer, 66 West Eleventh Street, New York, or

Villa dell' Aurora, Rome.

The project of the formation of The American School of Architecture in Rome dates from the
spring of 1894. On June 12th of the same year, a meeting was held at the Century Club, in New
York, at which it was decided to found an institution which in the course of time should be the equal
of the foreign academies in Rome, though at first somewhat different in scope. The management
is in charge of a permanent committee of men of high ability in architecture and the allied arts.

To the holders of Travelling Scholarships, to those who have acquitted themselves with distinc-
tion in the competitions for these scholarships and to members of the Ecole des Beaux-Arts of at
least three years' standing, it offers opportunities for the completion of their professional training
in special lines of study which can be pursued elsewhere only under great disadvantages. In
addition, there is the " Roman Scholarship" of the value of $1,500, offered first in 1895, the com-
petition for which is open to graduates of architectural schools throughout the country, and to
members of the Ecole des Beaux- Arts of two years' standing, less than thirty years of age.

It is believed that the foundation of the school in Rome has marked a distinct advance in the
history of architectural education in this country, and will tend to bring about more and more
co-operation between the different schools, to continue the work of which is its chief aim.

ARCHITECTURAL ANNUAL

263

UNIVERSITY OF CALIFORNIA

Berkeley, Cal.

B. R. MAYBECK, Instructor.

The University of California has not yet officially recognized the course in architecture, but the
facilities are all at hand, and one student is ready to take up the course when regularly defined.
The Hearst Library and photographs form its principal endowments, the former consisting of 600
volumes. There is no charge for tuition.

COLUMBIA UNIVERSITY

New York City

SCHOOL OF ARCHITECTURE

Officers of Instruction.

WILLIAM R. WARE, LL.D.,

Professor of Architecture.
ALFRED D. F. HAMLIN, A.M.,

Adjunct Professor of Architecture.
FRANK DEMPSTER SHERMAN, Ph.B.

Adjunct Professor of Architecture.
M. K. KRESS, A.M ,

Curator and Lecturer in Architecture.

CHAS. A. HARRIMAN,

Instructor in Architectural Drawing.
CHAS. P. WARREN, A.M.,

Tutor in Architectural Construction.
WILLIAM T. PARTRIDGE,

Lecturer in Architectural Design.
HENRY F. HORNBOSTEL, Ph.B.,

Assistant in Architectural Design.

GRENVILLE T. SNELLING, S.B.,

Instructor in Architectural Engineering.

The school was founded in 1881 through the generosity of Mr. F. A. Schermerhorn, under the direc-
tion of Professor W. R. Ware. It now has sixty regular students and seventeen specials. The four-
year course deals with history, drawing and design, architectural engineering, specifications, reading and
writing in the first three years, while the last year is devoted to independent work along post-gradu-
ate lines. The University courses are offered to graduates of the four-year course and represent
advanced study in history and design, or construction and practice. Special courses are given to
applicants who have had three or four years' practical experience as draughtsmen in offices. They
are required to pass an examination in architectural drawing, including the five orders, and are
received for periods of two months at a time.

Three travelling scholarships were established in 1890. These prizes are awarded in alternate years
and are open only to graduates under thirty years of age. In addition to these, every fourth year,
beginning in 1902, there will be awarded a travelling scholarship valued at $1,000. The equipment
of the school consists of books and photographs given by Mr. F. A. Schermerhorn ; a classified
library of prints and plates ; the Avery Architectural Library of about 15,000 volumes ; a museum
of building stones, tools and materials, and a large collection of lantern slides.

The cost of tuition in the four-year course is $200 a year. The fee for special students is $30 for
each period of two months. This entitles them to the instruction given in the draughting rooms
and four hours a week of recitations or lectures. An additional fee of $5 is requirtd for every
additional hour ; but in no case will the fees exceed $50 for the two months.

THE COLUMBIAN UNIVERSITY

Washington, D. C.

DEPARTMENT OF ARCHITECTURE

The Corps of Instruction.

JOS. C. HORNBLOWER, Ph.B.,
Professor of Architecture.

THOS. J. D. FULLER, B.S.,

Assistant Professor of Architecture.

THEODORE F. LAIST, B.S.,

Associate Professor of Architecture, in
Charge of Department.

264 ARCHITECTURAL ANNUAL

Architects Assisting the Corps of Instruction for the Year 1899-1900.

WALTER G. PETER. EDWARD W. DONN, Jr., B.S.

EDWARD A. CRANE. FRANCIS B. WHEATON.

OSCAR J. VOGT, Instructor in Architectural Drawing.

At the beginning of this year the Department of Architecture was reorganized and is now estab-
lished on a firm footing.

There is a regular four years' course leading to the degree of Bachelor of Science, as well as a

special course open to those whose previous education is such that they can, in the opinion of the

professor in charge, pursue the course to advantage. No entrance examination is required of special

students, but a certain degree of proficiency in drawing and the rudiments of architecture is expected.

A series of lectures is given annually by eminent practising architects.

The annual tuition fees are, for special course in architecture, $40.00, and for the regular course,
$100.00.

An}' other information may be had by referring to the University Catalogue, or to

THEO. F. LAIST,
Associate Professor in Charge of
Department of A rchitecture .

CORNELL UNIVERSITY

Ithaca, N. Y.

College of Architecture.

In 1870 a department of architecture was organized, which in 1896 was changed to a college of
architecture. The principal difference between the college and the department consists in the rela-
tions between the professors and instructors of architecture, and the administrative work of the
institution. Under the old system the details of the department were submitted to the university
faculty for discussion. Under the new system the faculty of architecture has practically entire charge
of the affairs of the college.

The faculty of architecture consists of the following :
ALEXANDER BUEL TROWBRIDGE, OLAF M. BRAUNER,

Professor in Charge of the College of Archi- Assistant Professor in Charge of Drawing and

tecture. Modelling, and Lecturer on the History of

CLARENCE A. MARTIN, Art.

Assistant Professor in Charge of Construe- ALBERT C. PHELPS,

tion. Instructor in Charge of History of Architec-

JOHN V. VAN PELT, ture.

Assistant Professor in Charge of Design.

Regular students are admitted to a four-year course leading to a degree. Special students are
admitted to a two-year course not leading to a degree, but for which a certificate is given.

The general aim is to give students a thorough foundation in the theory of construction and
design in architecture, supplementing this with such subordinate subjects as will help toward the
symmetrical development of an architect. Mathematics, graphics, mechanics, history of architecture
and of art, free-hand drawing from the antique, drawing from life, decorative work, and many
other minor subjects make up the curriculum.

There are two architectural fellowships at Cornell, one of the value of $500 for one year, and
open to graduates of any approved school of architecture in the world ; and the other of the value of
$2,000 for two years, and open only to Cornell graduates. The first is a resident fellowship ; the
second is a travelling fellowship. Onty one competition has been held for the travelling fellowship to
date. The winner, Mr. W. H. Dole, spent the year 1898-99 at Cornell studying advanced problems
in design. In the summer of '99 he travelled in Europe, seeing quite thoroughly the British Isles,
Holland, Belgium and a large part of France. Mr. Dole is at present (February, 1900) working in
advanced design at the college, and next fall will sail for Italy. His second European trip will
comprise Italy, Greece, Southern France and an extended stay in Paris. So far, the scheme, which
was a frank experiment, has been entirely successful. The holder of the fellowship has used his
time to the best advantage by means of this combination of travel and of home study. His first trip

ARCHITECTURAL ANNUAL

265

to Europe was novel, instructive and inspiring. The second trip will be for him a lasting stimulus,
rendered doubly strong and certain by his familiarity with the monuments of architecture through
his home study at Cornell, and by the experience gained on his first trip.

During the past year the College of Architecture has been presented with two memorial medals
and a memorial collection of photographs. One medal was given by the father and sisters of Charles
Goodwin Sands, a graduate of the department of architecture in 1890, who died a few years ago.
The other medal and the photographs are in memory of Clifton Beckwith Brown, of the class of
1900, who was killed during the battle of Santiago. The medals, so-called, are in the form of dies.
At the date of writing the Sands' medal is being modelled by Charles Grafly, of Philadelphia, and
the Brown medal by Professor Olaf M. Brauner, of the architectural faculty.

The equipment of the college is worth mentioning. It possesses a very good working library, a
museum of models and architectural casts, and a collection of about 1,500 photographs. Any
graduate of the college may secure blue-prints of the large collection for a comparatively small sum.
Reference to these has been invaluable to the students in the past.

A means of practical education and opportunity for contact with contemporary progress is
furnished in the spring trip. It is an inexpensive method by which the students may obtain the
best idea of the world's activities beyond the theory of the classroom.

The progressive and enlightened policy upon which the Cornell course is run commends itself to
those who look for an intimate relation of practice, theory and other evidences of vitality in a college
course. One evidence of this progressiveness is seen in the fact that the College of Architecture is
the official headquarters of the Central New York chapter of the American Institute of Architects.
Annual meetings are held, which are of the nature of conventions. These meetings comprise some
business and much pleasure, generally ending in a banquet. The recent graduates of the college
and other promising young men of Central New York who are engaged in the profession of archi-
tecture are taken into this chapter as junior members.

Another evidence lies in the custom of the faculty to invite men of active practice to visit Ithaca
and give lectures or informal talks upon subjects of peculiar interest to themselves. In these ways
does the college keep in touch with the active side of the profession, as well as by contributing each
year to the exhibitions of architectural drawings held in the different cities.

The official publication of the college is the "Annual," an illustrated book, giving the courses,
aims and some of the student work. It also speaks for this spirit of activity and vitality that
characterizes the course. The last issue, especially, in careful editing, in artistic arrangement and
in attention to the latest attainments in book-making, has a general tone that is far in advance of
the other college publications.

The fact that Mr. John V. Van Pelt, Assistant Professor in Design, was in 1895 one 0I" tne nrst
three Americans to obtain the diploma of the French Government speaks for the superior quality
of the teaching force that Cornell has drawn to her Architectural School.

The ultimate aim of the College is to develop into an institution where art of all kinds will be
fostered and taught. The primary reason for this aim is to make the training of the architect more
liberal, more rounded, by the presence of the sister arts. It is felt that architectural students should
be placed in an atmosphere filled with art thought, art talk and art work. More than this, the
architect to-day must know something of mural painting and sculpture, and should be readily able
to distinguish the good from the bad. If this reason seems a selfish regard for architects, it must
not be forgotten that painters and sculptors also need a thorough understanding of the general laws
which govern architectural composition and architectural scale. If, then, the professions or arts are
interdependent, the ideal plan for the development of any one of the arts is in an institution where
the others are taught.

The tuition for regular and special students is $125 per year, payable in three payments.

UNIVERSITY OF ILLINOIS

Urbana, 111.

N. CLIFFORD RICKER, M.Arch.,

Professor in Charge.
CYRUS D. McLANE, B.S.,

Assistant Professor of Architecture.

JAMES M. WHITE, B.S.,

Associate Professor of Architecture.
SETH J. TEMPLE, Ph.B.,

Assistant Professor of Architecture.

266 ARCHITECTURAL ANNUAL

The department of architecture was opened in 1873. About fifty-four regular students in archi-
tecture and architectural engineering and eight special students are in the school. There are two
general courses, one in architecture representing a training in mathematics, construction of all kinds,
office work and methods, history of architecture, perspective drawing and design ; the other in archi-
tectural engineering, giving instruction in higher mathematics, bridges and bridge design. The
department is provided with gifts, working drawings, specimens of building materials, casts, brick
and mosaic panels. Graduates of this course are not required to take examinations in architectural
construction, strength of material and sanitation, which are required of all other applicants for license
to practice architecture in Illinois. Papers by graduates and students are published in the Tcchno-
graph, an annual of the College of Engineering. The aim of the course is to fit its students for able
assistants, good builders and safe architects. This has evidently been accomplished in not a few
instances, for 9 per cent, of the licensed architects of Illinois are graduates or former students of the
department ; others are engaged in every Western State and Territory, and even in Japan.

Two free scholarships are offered to all University students from each county in the State. Eight
fellowships of $300 each are offered to University graduates, and are open to architectural students,
as well as the others.

University fees are $24 per year ; the average cost is $250 to $300 per year.

THE INTERNATIONAL CORRESPONDENCE SCHOOL

Scranton, Pa.

DEPARTMENT OF ARCHITECTURE

Since its inception, separate schools have been formed, which specialize in certain lines of work
more or less intimately connected with the architectural profession. As a result, the International
Correspondence Schools now furnish instruction in building design, construction and equipment
through six distinct schools.

WM. SCOTT-COLLINS, Architect, MAURICE M. SLOAN, Architectural Engineer,

Principal. Assistant Principal.

Address, The International Correspondence School, Wyoming Avenue, Scranton, Pa.

The schools are represented in Science and Industry, published monthly by the Colliery Engineer
Company, proprietors of the schools. Messrs. Collins and Thomson are associate editors, and the
other principals contribute regularly. Subscription, $1 per year in advance ; single copies, 10 cents.

The School of Architecture of the International Correspondence Schools was founded in the spring
of 1894, its ultimate aim being to raise the standard of the artisan and teach the younger members
of the profession the technical details of each department of the building trades.

The principal of each school is assisted in the work of instruction by his special corps of trained
examiners and instructors. Following is a list of the various courses of instruction and the scope
and cost of the complete architectural course.

It is intended for architects, draughtsmen, contractors and builders, carpenters, masons, bricklayers
and other artisans, and all others desirous of qualifying themselves to design and construct buildings.
The student who completes this course will be able to design, prepare working drawings and specifi-
cations for building operations, calculate quantities, estimate costs and will have a thorough knowl-
edge of iron and steel construction.

Prices. — Cash, $60.00, or $68.00, $73.00 and $78.00, in monthly payments of $5.00, $3.00 and $2.00,
respectively.

Architectural Drawing and Design Course.

This is intended for carpenters, contractors, architectural draughtsmen and all who wish to learn
architectural drawing, history and design.

Prices. — $40.00, $45.00, $50.00 or $55.00, according to plan of payment.

The graduate of one of these courses is not necessarily a fully educated man, but he knows more
about that part of his business which cannot be "picked up" from experience than his fellow-
workers. He has a more practical education, for his purpose, self-advancement, than could be
obtained in any resident school, because he has learned nothing he could not immediately use, and,
by combining education and work, has made each of double value.

ARCHITECTURAL ANNUAL 267

The need of such men is so great that the schools have found favor with many members of the
architectural profession who are acquainted with the work they have undertaken and the results
accomplished. And not a few practising architects have taken advantage of this opportunity to
review former studies and increase their knowledge of modern architectural engineering and recent
developments in the various building trades.

The results accomplished by the schools demonstrate that correspondence education, with a
persevering student at one end of the line and a broad-minded and experienced management at the
other, is productive of large practical results. The courses are not intended as substitutes for college
or resident technical school courses, but represent the night work of advanced artisans ambitiously
inclined. They furnish to artisans and practical workers in the various divisions of the architectural
profession specialized education in the scientific principles underlying their work and their practical
application. As the courses begin with arithmetic, the only qualification required of the student is
the ability to read and write English and persevering application to study.

The Correspondence School of Architecture occupies a unique position. It is not scholastic in
character, but exists for the ambitious, thoughtful artisan who, while pursuing his daily work, may
in outside hours become proficient in matters he cannot acquire by experience. It must not be
placed beside college and technical courses, but is so different in character, deals with such a different
class of workers, and reaches so many more students that it occupies its own peculiar field. Some
men who have obtained a broad architectural education use the course to perfect themselves in
technical details. The books are supplemented by diagrams and illustrations that make the courses
both lucid and thorough. The keynote of all is that the isolated student, put upon his own
resources, may reach a high standing by individual work.

The fact that the total number of students and graduates in all the schools operating under the
title of the International Correspondence Schools is at this writing over 150,000, and that thus far
the total enrollment has doubled each year, indicates a future growth for the new system of educa-
tion that will be one of the marvels of the twentieth century.

TULANE UNIVERSITY OF LOUISIANA

New Orleans

ART DEPARTMENT

WILLIAM WOODWARD, Professor of Architecture.

The course in architecture was founded in 1894 '< the number of students in attendance is five,
pursuing either the four-year course in architectural engineering or the special courses. The depart-
ment is provided with plans and specimens of materials. About 150 free scholarships are available
throughout Louisiana, admitting to architectural as well as other courses. Tuition in the regular
course is one hundred and five ($105) dollars per year ; for special courses it is proportionately less.

McGILL UNIVERSITY

Montreal, Canada

ARCHITECTURAL COURSE

S. HENBEST CAPPER, M.A. (Edin.), H. F. ARMSTRONG,

A.R.I.B.A., R.C.A., Assistant Professor of Free-hand Drawing,

MacDonald Professor of Architecture, in charge. Drawing and Geometry.

The architectural course was founded in 1896, and since that time twelve students have been in
attendance, three have graduated and five are still in the course. The plan of the course covers four
years.

Endowments cover the salary of a professor and an annual income for the extension of equip-
ment. Gifts have supplied the department with casts, library, photographs, slides, models, lanterns
and diagrams.

268 ARCHITECTURAL ANNUAL

To legally practice in the Province of Quebec an architect must be a duly qualified member of
the Provincial Association of Architects, admission to which is by examination. Graduates of
McGill University are not required to pass the matriculation examinations for this, and are entitled
to present themselves for the qualifying examinations after one year's study under a practising archi-
tect, in place of four years' office work required of non-graduates.

The cost of the course is one hundred and fifty-five ($155.00) dollars a year.

HARVARD UNIVERSITY

Cambridge, Mass.

DEPARTMENT OF ARCHITECTURE

HERBERT LANGFORD WARREN, GEORGE FREDERICK NEWTON,

Professor of Architecture (in charge of the Instructor in Drawing and Design.

Department). ANDREW GARBUTT,

DENHAM WALDO ROSS, Ph.D., Instructor in Modelling.

Lecturer on the Theory of Design. LOUIS JEROME JOHNSON, A.B., C.E.,

WALTER DANA SWAN, Statics, Structural Design, Masonry Con-
Assistant in Architecture. struction.

CHARLES HERBERT MOORE, A.M., Professor of Art and Director of the Fogg Art Museum.

As recently as 1894 was r^e department of architecture founded at Harvard, and at the present
time it has twenty-eight regular and seventeen special students, besides four students in landscape
gardening.

In connection with the department, a four-year course in landscape architecture has just been
established.

The department possesses a library of between 300 and 400 volumes, which has been carefully
selected to meet the wants of students, besides several thousand photographs and a collection of
drawings and casts.

The University Library has a very complete collection of books on architecture and the fine arts.

The Fogg Art Museum, beside its collection of casts, Greek vases, engravings, etc., has a collection
of over 27,000 photographs, a large proportion of which are of architectural subjects.

The University has received for the department the following gifts and endowments :

Under the will of the late Arthur Rotch, of Boston, $25,000.

From donors who are for the present anonymous, $100,000, for a building for the department of
architecture, and a further sum of $100,000 for its endowment.

Plans for this building are now nearing completion by Messrs. McKim, Mead & White, and it
promises to be most complete in all its arrangements.

The Board of Overseers of Harvard University has appointed as its committee to visit the depart-
ment Mr. R. S. Peabody, A.M. (of the firm of Peabody & Stearns), Mr. A. W. Longfellow, Jr.,
A.B., Mr. Ed. M. Wheelwright, A.B. (of the firm of Wheelwright & Haven), Mr. R. Clifton
Sturgis, A.B.

These gentlemen have aided the instructors in the department in the conduct of advanced
problems in design.

Prof. H. L. Warren is Chairman of the Committee on Education of the American Institute of
Architects.

The President and Fellows of Harvard College established in 1899 the Austin Fellowship in
Architecture, with an income of $r,ooo, tenable for one year, setting apart for the purpose a portion
of the income of the fund received by the University under the will of the late Edward Austin.

The Fellowship is open for competition to those who of their own means are not able to bear
the expense of a year's study abroad. Candidates must be Bachelors of Science in Architecture
of Harvard University, of not more than three years' standing at the commencement next pre-
ceding the examination for the Fellowship and must have taken the degree with distinction.

The cost of tuition is $150 per year. Several scholarships, varying in value from $150 to
$225 each, are available in the Lawrence Scientific School, of which the architectural courses are
one department, for the aid of students of high merit.

ARCHITECTURAL ANNUAL 269

MASSACHUSETTS INSTITUTE OF TECHNOLOGY

Boston, Mass.

COURSE IN ARCHITECTURE

FRANCIS \V. CHANDLER, HARRY W. GARDNER, S.B.,

Professor of Architecture and in Charge of the Instructor in Architecture.

Department. ALICE G. LORING,

DESIRE DESPRADELLE, Assistant in Architecture.

Rotch Professor of Architectural Design. TRUMAN H. BARTLETT,

ELEAZER B. HOMER, S.B., Teacher of Modelling.

Associate Professor of Architecture. DAVID A. GREGG,

WILLIAM H. LAWRENCE, S.B., Teacher of Pen-and-ink Drawing.

Assistant Professor of Architecture. C. HOWARD WALKER,

CHARLES L. ADAMS, Teacher of the History of Ornament.

Instructor in Free-hand Drawing. SAMUEL W. MEAD,

W. FELTON BROWN, Teacher of Architectural Design.

Instructor in Free-hand Drawing. ROSS TURNER,

Teacher of Water-Color.
The option of Landscape Architecture is in charge of

GUY LOWELL, A.B., S.B., Grad. Ecole des Beaux- Arts.

The Massachusetts Institute of Technology founded a course in architecture in 1S65. The
students number 120.

An endowment fund of about two million ($2,000,000) dollars exists for all departments and a
special fund of thirty thousand ($30,000) dollars is for Course IV, Architecture.

Regular visits are made to the Institute by the Boston Society of Architects. Mr. R. S. Peabody,
President of the American Institute of Architects, is a member of the corporation of the M. I. T. ,
and is chairman of the visiting jury of this year. The Technology Quarterly is the organ that
represents architectural interests at the Institute. Options, or electives, in architectural engineering
and landscape architecture have recently been added to the course. Harvard and the Institute
are the only schools that teach this latter branch of study, and it has great promise. A conception
of symmetry, a knowledge of fine art generally, a keen perception of a client's tastes and a strong
imaginative faculty are requisites of a landscape gardener, no matter how much college or institute
work he may pass through. There is a danger of such a course becoming too mechanical and
scientific — too forgetful of the aesthetic side of the problem, but the matter is in good hands.

One hundred and seventy-five students have been graduated from the architectural department of
the Institute. Between 500 and 600 have taken professional positions, but have not graduated. The
tuition is $200.

UNIVERSITY OF THE STATE OF MISSOURI

Columbia, Mo.

DEPARTMENT OF ARCHITECTURE

THOMAS NOLAN, Ph.B., C. W. MARX,

Professor in Charge. Professor of Mechanics of Architecture.

HARRY T. CORY, T. J. RODHOUSE,

Professor Sanitary Engineering of Buildings. Instructor in Descriptive Geometry and

Drawing.

The chair in architecture established in 1899 at the University of Missouri was the first to be
established west of the Mississippi River, and is the only one beside that of Illinois west of the
Alleghanies. Thirteen students are now enrolled in the course. The four-year course is modelled
according to the strongest methods of the Eastern colleges and furnishes a thorough training in
Architectural Drawing and Design. The library is small, but carefully selected. Photographs, plates,
lantern slides and architectural casts add to the equipment. Tuition is free, the only charge being
a library fee of $5.00 for each year, and laboratory deposits to cover the costs of materials used by
students.

270 ARCHITECTURAL ANNUAL

UNIVERSITY OF PENNSYLVANIA

Philadelphia, Pa.

COURSES IN ARCHITECTURE

WARREN POWERS LAIRD, CHARLES E. DANA,

Professor in Charge. Water- Color.

HERBERT E. EVERETT, FRANK EDSON PERKINS, S.B., Arch'te

Interior Decoration. Diplome du Gov't Francais,

GEORGE WALTER DAWSON, Design.

Drawing. FRANK ALLISON HAYS,
LEWIS FREDERICK PILCHER, Ph. B. in Arch., Pen-and-ink Rendering.

Architectural History. FREDERICK M. MANN, C.E.,M.S.,

HUGER ELLIOTT, Theory and Practice of Construction.

Architecture.

Lecturers.

WALTER COPE, FRANK MILES DAY, B.S.,

Architect. Architect.

EDGAR V. SEELER, AMOS J. BOYDEN, S.B.,

Architect. Architect.

The School of Architecture was founded at the University of Pennsylvania in 1890, and has shared
in the phenomenal growth of the institution. There have entered this year thirty eight students in
the regular courses, and twenty-nine in both special courses, a total of sixty-seven. The four-year
course provides a thorough architectural training ; the two-year special course is intended for archi-
tectural draughtsmen who, desiring to supply deficiencies in technical training, are unable to give the
time necessary to the completion of the four-year course ; and the three-year course in Interior Decora-
tion fits its students for the intelligent designing of all those objects of industrial art that pertain to
an artistic interior.

The courses are so arranged as to present architecture as an art, which, while inseparable from
sound construction and obedience to utility, yet lies above and beyond these attributes in the field of
the fine arts proper. The most important division of the professional work of the course pertains,
therefore, to Design ; and to this subject, in its various phases, the relatively largest portion of the
student's time is devoted throughout the four years of his course. Supporting this line of study and
broadening the general view of the student are the History courses. These continue through four
years, covering exhaustively the field of architecture, and giving concise treatment to that of painting
and sculpture. Careful attention is given to subjects comprehended under the term " Architectural
Engineering, " comprising pure and applied science, the nature of materials, and the theory and
practice of construction and of sanitation. Draughtsmanship receives constant attention throughout
the course, not only in drawing incident to the Design courses, but also in various lines of instruction
in pure drawing.

The purely professional work of the course thus outlined covers some three-fourths of the time
required of the student, the remaining portion being devoted to strictly liberal studies, which are
confined to the first two years.

The school has been the recipient of gifts, largely in money, sufficient to provide it with a work-
ing library of about 500 volumes, some thousands of photographs, and a collection of lantern slides,
casts and models, drawings and engravings. Prominent practising architects of Philadelphia lecture
before the school. Professor Laird is Vice-President of the T-Square Club, which organization offers
prize free memberships to the two students doing the best work in the junior year. The Year-Book
of the school of architecture is issued by a student organization, the Architectural Society, and com-
pares quite favorably with periodicals published by the faculties of other colleges. The merit of these
courses is sufficiently proven by the fact that, within ten years from its foundation, the school stands
among those considered the best in the country.

In the matter of free scholarships the following provisions have so far been made for the assist-
ance of students unable to pay the full tuition fees. The scholarships open to undergraduates in
the college may be divided broadly into two classes : first, those which may be held only by students
from certain localities ; and secondly, those which are general in their application. The first consist
of the Penn Scholarships (two in number), which are filled by the Governor of the State ; the Pub-
lic School Prize Scholarships (fifty in number), which are awarded in any department of the

ARCHITECTURAL ANNUAL 271

University, upon the recommendation of the Board of Education, to graduates of the public schools
of the city of Philadelphia ; and the Pennsylvania Public High School Scholarships (five in number),
which are open to graduates of public high schools in Pennsylvania on /side of Philadelphia. The
scholarships open to students in general are the Baird Scholarship, which provides free tuition for
one student ; the Simon Muhr Scholarships, which provide free tuition for three students; and
sixteen scholarships awarded each year, eight to candidates for scholarships in the School of Arts,
and eight for the Towne Scientific School. The total amount of free tuition given by the college
during 1897-98 is represented by the sum of $27,973.60.

Those wishing to make application for scholarships should address Dr. Josiah H. Penniman, Dean
of the college, or Professor Edgar F. Smith, Chairman of the Faculty Committee on Scholarships.

Any student in the School of Architecture, of one full year's standing, is eligible to the competi-
tion for the John Stewardson Memorial Scholarship in Architecture, being of the value $1,000.00; the
winner being required to spend a year in travel and study abroad. Graduates of the four year
course are exempt from the preliminary examinations, and students holding certificates of the two-
year special course are required to pass preliminary examinations in French only.

Admission to the four-year course requires a knowledge of English, History, Mathematics and
French or German (see catalogue). The degree of B.S. in architecture is given at the end of the
senior year. Admission to the three-year course in Interior Decoration is granted, without
distinction of sex, under certain entrance conditions, to persons not less than eighteen years of
age, to whom a certificate of proficiency is granted at the end of the course. Admission to the
special two-year course is granted to draughtsmen of not less than two years' experience in office
wor<c, who may present evidences of general educational fitness, an entrance examination in free-
hand drawing being required.

The work of this course is purely professional from beginning to end. College graduates, holding
diplomas that cover an equivalent of the academic work of the four-year course, may obtain the
degree of B.S. in architecture at the end of this course.

The tuition fee for the four-year and two-year course is one hundred and fifty ($150.00) dollars
per annum ; for the course in Interior Decoration it is fifty ($50) dollars per annum.

SYRACUSE UNIVERSITY

Syracuse, N. Y.

DEPARTMENT OF ARCHITECTURE

EDWIN H. GAGGIN, B.Arch., FREDERICK W. REVELS, B.Arch.,

Professor of Architecture, in charge of De- Instructor in Perspective and Descriptive

partment of Architecture. Geometry.

T. WALKER GAGGIN, B.Arch., CARL T. HAWLEY, B.P.,

Instructor in Architecture. Instructor in Free-hand and Life Drawing.

WILLIAM E. TAYLOR, Ph.M., Instructor in Pure Mathematics.

The course in architecture of the College of Fine Arts of Syracuse University was founded in
1873, and now has twenty-four regular students and five special students.

The regular course leading up to the degree of Bachelor of Architecture requires four years to
complete. The aim in the work is to give the student a fundamental knowledge of all those subjects
that will be of value to him in practising his profession. While it is aimed to make him a specialist
as an architect, it is so done as to give him a general education so far as time will permit. The
student is allowed and encouraged to become as dependent upon himself in his work as possible, so
long as what he does is thoroughly in accord with the principles of reasonable and artistic design.
Problems are given such as would be encountered in the office of a first-class architect, so that the
student is fitted for practical, everj--day life.

The two-year course in architecture is intended for those persons who have not had the prepara-
tory work necessary to enter the regular four-year course. A certificate, but no degree, is given for
the completion of the two-year course.

An exhibition of work produced by the students during the year is held during commencement
week each spring, to which the public is invited. The work of the department is described in the
" University Annual," which is published each spring.

272

ARCHITECTURAL ANNUAL

All of the graduates of the department are doing successful work in the profession, as are others
who left college before completing their course. The instructors in architecture are practical men.
The University has expended during the past four years over $650,000 upon new buildings, and this
work has always been open to the inspection and study of students in the department.

During the past year there has been established a fellowship, giving one year's free tuition for
post-graduate work, to be awarded to the most capable student of the graduating class each year.
The University has scholarships that it gives to needy and deserving students. Absolutely no
restrictions are made as to whom the scholarships shall be given, except that the student must be
needy, and worthy, and be pursuing a regular course. The cost of tuition is $135 per year. A
matriculation fee of $5 is required upon registration at beginning of course. The cost of gradua-
tion fee and diploma is $20.

DOORWAY, ST. PAULO. SEVILLA

DRAWN BY ADOLFO CARLOS MUNOZ

ARCHITECTURAL ANNUAL 273

THE AMERICAN INSTITUTE OF ARCHITECTS

FOUNDED 1857
PERMANENT NATIONAL HEADQUARTERS, "THE OCTAGON," "WASHINGTON, D. C.

Annual conventions are held in different cities, the rotation being so arranged that beginning
with 1900 every other convention will be held at Washington.

OFFICERS FOR 1900

ROBERT S. PEABODY, President, Boston, Mass.

W. S. EAMES, First Vice-President, St. Louis, Mo.

FRANK MILES DAY, Second Vice-President, Philadelphia, Pa.

GLENN BROWN, Secretary and Treasurer, Washington, D. C.

EXECUTIVE COMMITTEE

ROBERT S. PEABODY (ex-officio), Boston, Mass.
.GLENN BROWN '(ex-officio), Washington, D. C.
GEORGE B. POST, New York, N. Y.
ALFRED STONE, Providence, R. I.
ROBERT W. GIBSON, New York, N. Y.

BOARD OF DIRECTORS

FOR ONE YEAR.

R. W. GIBSON, 54 Broad Street, New York, N. Y.

LEVI T. SCOFIELD, 338 Erie Street, Cleveland, O.

W. M. POINDEXTER, 806 Seventeenth Street, Washington, D. C.

FOR TWO YEARS.

GEORGE B. POST, 33 East Seventeenth Street, New York, N. Y.
ARTHUR G. EVERETT, 62 Devonshire Street, Boston, Mass.
ALFRED STONE, 49 Westminster Street, Providence, R. I.

FOR THREE YEARS.
HENRY VAN BRUNT, 1214-A Main Street, Kansas City, Mo.
JAMES G. HILL, Corcoran Building, Washington, D. C.
NORMAND S. PATTON, 115 Monroe Street, Chicago, 111.

For information regarding Standing and Special Committees, list of members, business transacted,
convention proceedings, etc., see literature of the Society.

CHAPTER REPORTS, SEPTEMBER 30, 1898, TO SEPTEMBER 30, 1899
REPRINTED FROM PROCEEDINGS OF THE THIRTY-THIRD ANNUAL CONVENTION

NEW YORK CHAPTER. 1867

WALTER COOK, President.
CHARLES I. BERG, Secretary, 10 West Twenty-third Street, New York.

This Chapter has held five regular meetings and one special meeting, with an average attendance
of fifteen. It has been called in several times to select juries and to suggest methods in deciding
public competitions, and its advice has been followed.

Practising membership eighty-seven, eight having joined during the year. Forty-one Institute
members, entitling the Chapter to six delegates in the Convention. No member elected to the
Institute from this Chapter during the year.

274 ARCHITECTURAL ANNUAL-

PHILADELPHIA CHAPTER. 1869
WILSON EYRE, President.
AMOS J. BOYDEN, Secretary, 411 Walnut Street, Philadelphia.

The Chapter has held one meeting in the past year. Attendance not given. The present prac-
tising membership is thirty ; one member has been elected and two resigned. Four junior members,
two of whom were elected in the last year. Nine Institute members, entitling the Chapter to two
delegates. No Institute member elected during past year. Twelve applications pending.

ILLINOIS CHAPTER. 1869

S. A. TREAT, President.

GEORGE BEAUMONT, Secretary, 115 Dearborn Street, Chicago.

Ten meetings have been held, with dinner at each. Average attendance nine. The present
practising membership is fifty-four, five having resigned and seven lapsed and one died in the past
year. Present honorary members are three ; one honorary member died in the current year. Thirty-
seven Institute members entitles the Chapter to five delegates in Convention. No new Institute
members from this Chapter in the past year.

BOSTON CHAPTER. 1870

E. C. CABOT, Honorary President. C. A. CUMMINGS, President.

A. G. EVERETT, Secretary, 62 Devonshire Street, Boston.

Eight regular meetings and one special meeting with dinner have been held during the year, with
average attendance of thirty.

The Chapter has had under consideration the Rotch Travelling Scholarship, the conduct of city
architecture, building limits, and a general competitive code. Papers have been read by R. A. Cram,
on the Outline of Japanese Architecture ; Sylvester Baxter, on Renaissance Architecture in Mexico;
John A. Fox, on Professional Practice ; C. Howard Walker, on Possibilities for Improvement in
Boston ; Theodore A. Skinner, on New Buildings for the University of Virginia. The present mem-
bership of the Chapter is sixty-seven practising members ; fifteen associate or non-professional mem-
bers ; thirty juniors and eleven honorary members. There are twenty-four Institute members,
entitling this Chapter to four delegates to the Convention. No new Institute members have been
received from this Chapter during the year.

CINCINNATI CHAPTER. 1870

A. O. ELZNER, President.

HARRY HAKE, Secretary, Lincoln Iron Building, Cincinnati.

This Chapter has held twelve regular meetings with dinner, with an average attendance of twelve
at each meeting. The Society has discussed the consideration of Plate Glass Works, Painting
Specifications, the adoption of the New Constitution ; has made excursions to the Bullitt Electric
Works ; outing on the lagoon ; outing on the Ohio River to Coney Island, and a trip to Hamilton,
Ohio, Niles Tool Works. Papers have been read on Tile, by Carl Lokenbach ; The Development of
Church Architecture, by A. O. Elzner ; Lime and Cement, by E. W. Heyward. The present mem-
bership consists of sixteen practising members, ten associates, and one junior. Twelve members of
the American Institute of Architects belong to the Chapter, and two applications are pending for
Institute membership from this Chapter. The Chapter is entitled to three delegates in the Con-
vention.

RHODE ISLAND CHAPTER. 1875

ALFRED STONE, President.

EDWARD I. NICKERSON, Secretary, 61 Westminster Street, Providence, R. I.

This Chapter has held five regular meetings during the year, average attendance ten. These
meetings were all accompanied with dinner. The following papers have been read : The Homeric

ARCHITECTURAL ANNUAL 275

Palace of Tiryas, by Norman M. Shaw ; Slides of the work of various architects, with running com-
ments, by Edward E. Field ; Formal Gardens, by Prescott O. Clark. The Chapter has had under
consideration the plans for the layout of Exchange Place. The present membership consists of
sixteen practising members, two juniors, and one non-professional. One practising member has
resigned during the year. This Chapter has eleven members of the Institute, and is entitled to three
delegates in the Convention of the American Institute of Architects. No members have been
admitted to the membership of this Chapter during the year. No application for membership in the
Institute has been received.

SAN FRANCISCO CHAPTER. 1881

SETH BABSON, President.
MERRITT G. REID, Secretary, Claus Spreckels Building, San Francisco.

This Chapter has held seven regular meetings and four special meetings during the year. This
Chapter has discussed the Constitution and By-Laws, a State license for architects, competition for
hospitals, arranged a program and entertained the jurors of the Phoebe Hearst Competition for Plans
for the University of California.

The Chapter has thirty-one practising members, one associate member, and six honorary mem-
bers. During the year seven practising members have been elected, one has resigned, one lapsed,
and one died. This Chapter has nine Institute members and is therefore entitled to two delegates in
the Convention of the American Institute of Architects. Two associates have been elected to the
Institute during the year from this Chapter, and one member's application is pending from this
Chapter.

INDIANAPOLIS CHAPTER. 1887

B. VONNEGUT, President.

CLARENCE MARTINDALE, Secretary, 503 Indiana Trust Building, Indianapolis.

This Chapter has held no meetings during the past year. Has fourteen practising members.
Nine of the members of this Chapter are members of the Institute, therefore this Chapter is
entitled to two delegates to the Convention of the American Institute of Architects.

WASHINGTON CHAPTER. 1887

JAMES G. HILL, President. T. J. D. FULLER, Secretary.

This Chapter has held eight regular meetings during the year and one special meeting, with
average attendance of nine. They have had before them for discussion the bill for the Carnegie
Library Competition and a paper by Mr. Thomas Wilson on " The Effect of Glass on Transmitted
Light." This Chapter at present has twenty -seven practising members, four junior members, and
one honorary member. They have elected two practising members and one practising member has
resigned during the year. This Chapter has twenty-two members of the Institute, and is, therefore,
entitled to four delegates in the Convention. Five members of the Chapter have become associates of
the Institute during the year, and five architects have joined through the influence of this Chapter

MICHIGAN CHAPTER. 1887

HENRY J. MEIER, President.

FRANK C. BALDWIN, Secretary, 1103 Union Trust Building, Detroit.

This Chapter has held six regular meetings, with dinner, during the year, also one special meet-
ing. Average attendance of nine at the meetings. The time at these meetings has been occupied
in discussion on " Licensing Architects in the State of Michigan." This Chapter has eleven practis-
ing members, three associate members, and two honorary members. They have elected and rein-
stated two practising members ; has ten members of the Institute, therefore is entitled to three
delegates to the Convention.

276 ARCHITECTURAL ANNUAL

GENERAL NEW YORK SOCIETY OF ARCHITECTS. 1887

JOSEPH BLABY, Vice-President, Acting President. J. H. PIERCE, Secretary.

This Society has held one meeting during the year, at which new officers were elected. On
account of the scattered dwelling-places of the members of this Society they have found it difficult
to meet. It has seventeen practising members, two associate members. No members have been
elected, and none resigned or lapsed during the year. Two members have been elected associates
of the Institute during the year. It has ten Institute members, and is, therefore, entitled to three
delegates in the Convention of the American Institute of Architects. A number of members of this
Society have made application during the year for membership in the Institute.

BUFFALO CHAPTER. 1890

GEORGE CAREY, President.

F. A. LOVERIN, Secretary, 19 Court Street, Buffalo.

This Chapter held seven regular and two special meetings during the year, with an average
attendance of ten. The meetings were taken up by general discussions ; the discussion of the
Pan-American Congress at Buffalo ; revising the By-Laws ; a paper on Municipal Art, by George
Carey ; Norman Architecture, by E. A. Kent ; Architectural Course in Cornell University, by Prof.
A. C. Trowbridge. Several of the meetings during the year were attended by the Buffalo Society of
Artists, the Buffalo Society of Engineers. This Chapter has twenty-five practising members, having
lost during the year one by resignation, three by lapse of dues, and elected one new member. This
Society has seven members who are members of the American Institute of Architects, and is, there-
fore, entitled to two delegates in the Convention. No members have entered the Institute from this
Chapter.

ST. LOUIS CHAPTER. 1890

WILLIAM B. ITTNER, President.

LOUIS MULLGARDT, Secretary, Commercial Building, St. Louis, Mo.

This Chapter has held eleven regular meetings, and three special meetings during the year, with
average attendance of fifteen. Discussions have taken place on a License Law for Architects ; to
forestall the disruption of the. St. Louis Board of Underwriters ; the Adoption of the New Constitu-
tion and By-Laws ; a Code of Ethics, and the following papers have been read : On the Best Method
in Modern Practice in Steam and Mechanical Engineering, by Wm. H. Bryan ; Result of Tests on
Wood Columns and Girders, by Prof. J. B. Johnson ; Resolutions on the death of George Ingram
Barnett, William Buckley and William H. Brown ; the celebration of the Louisiana Purchase Cen-
tennial, by Louis Mullgardt. This Chapter has twenty-four practising, three associate, and two
junior members. During the year there have been an election of two practising members, the death
of one practising member, and one associate member has been carried forward into the practising list.
This Chapter has twenty two members who are members of the American Institute of Architects,
therefore would be entitled to four delegates in the Convention of the American Institute of Archi-
tects. Four members have joined the Institute from this Chapter during the year.

KANSAS CITY CHAPTER. 1890

F. B. HAMILTON, President.

GEORGE MATTHEWS, Secretary, 415 Lyceum Building, Kansas City, Mo.

This Chapter has held one regular meeting and three special meetings during the year, discussing
the licensing of architects, the reorganization of the Chapter, and resolutions on the death of Mr.
W. F. Hackney. This Chapter has twenty-two practising members ; one member has been elected
during the year ; one has lapsed, and one died. It has seven Institute members, and is therefore
entitled to two delegates in the Convention. Five members have been elected to the Institute during
the year from this Chapter and one member reinstated on the rolls of the Institute.

ARCHITECTURAL ANNUAL 277

CLEVELAND CHAPTER. 1890

CHARLES W. HOPKINSON, President.

BENJAMIN S. HUBBELL, Secretary, New England Building, Cleveland.

This Chapter held seven meetings during the year, with an average attendance of six, together
with dinner or supper at each meeting. They have discussed the question of territories of Chapter
jurisdiction ; papers have been read on Competition, by A. N. Oviatt and Berres. This Chapter has
ten practising members, one having been elected during the year. The Institute membership in this
Chapter has been reduced to three members.

PITTSBURG CHAPTER. 1891

T. D. EVANS, President.

W. J. EAST, Secretary, 232 Fifth Avenue, Pittsburg, Pa.

This Chapter has held nine regular and three special meetings during the year, with an average
attendance of seven ; an occasional dinner has been given at the meetings. At these meetings dis-
cussions have taken place relating to the Architectural Club of Pittsburg joining the Chapter;
amending the Constitution and By-Laws, and receiving a Charter from the State, and entertaining
the Convention of the American Institute of Architects. This Chapter has twenty-two practising
members, six of whom have joined during the last year. This Chapter has fifteen members who are
members of the Institute, therefore is entitled to three delegates in the Convention. Seven have
been elected to the Institute from this Chapter during the last year.

WORCESTER CHAPTER. 1892

STEPHEN C. EARLE, President.

GEORGE H. CLEMENCE, Secretary, 405 Main Street, Worcester, Mass.

This Chapter has held eight regular meetings during the year, with an average attendance of five,
with only general business before it. It has five members who are members of the American Insti-
tute of Architects, and is therefore entitled to two delegates in the Convention. No members have
been elected from this Chapter to the American Institute of Architects during the year.

MINNESOTA CHAPTER. 1892

WALTER S. PARDEE, 824 Guaranty Building, Minneapolis, Minn.

This Chapter has held no meetings during the last two years. A letter from the Secretary,
Walter S. Pardee, states that they are taking measures to organize their Chapter and get it into posi-
tion for active beneficial work.

COLORADO CHAPTER. 1892

ROBERT S. ROESCHLAUB, President.

F. E. KIDDER, Secretary, 628 Fourteenth Street, Denver, Col.

This Chapter has held fifteen meetings during the year, with an average attendance of seven at a
meeting, without dinners. Have had discussions on the questions of Licensing Architects, on the
Building Ordinances, Competition for the Auditorium, and general business. This Chapter has
nineteen practising members, one having lapsed during the year. It has four members belonging to
the American Institute of Architects, and the applications of several pending. It is entitled to two
delegates in the Convention. Three have been elected to the Institute from this Chapter during the
year.

278 ARCHITECTURAL ANNUAL

BROOKLYN CHAPTER. 1894

ISAAC E. DITMARS, President.

A. G. THOMSON, Secretary, 90 Beekman Street, New York.

This Chapter has held nine regular and one special meeting during the year ; supper usually
served at each meeting. They have discussed the new building laws for New York, obtaining State
Charter and new By-Laws ; building commission ; had an excursion to see Ransom's new Concrete
Factory ; had a lecture on Architectural Photographs, by Mr. Parshley ; a lecture on Architecture,
by Prof. A. D. F. Hamlin. This Chapter has fourteen practising members, seven junior members,
and three non-professional members. One practising member has resigned during the year. This
Chapter has fourteen members belonging to the American Institute of Architects, and is therefore
entitled to three delegates in the American Institute of Architects. One member of this Chapter
has been elected an associate to the American Institute of Architects during the year.

SOUTHERN CALIFORNIA CHAPTER. 1894

B. H. BROWN, President.

JOHN P. KREMPEL, Secretary, Phillips Block, Los Angeles, Cal.

This Chapter has held seven meetings during the year, with an average attendance of six at a
meeting. Have discussed the bill for licensing architects, and also a bill on New City Ordinance ;
also matters pertaining to the American Institute of Architects. It has seventeen practising mem-
bers, three having resigned during the year. There are no members of this Chapter belonging to
the American Institute of Architects, but the Secretary informs me that he has five or six applica-
tions which he has sent out to San Francisco for endorsement from members of the Institute, and he
is anxious to organize properly as a Chapter of the American Institute of Architects.

DAYTON, OHIO, CHAPTER. 1899

ROBERT E. DEXTER, Canby Building, Dayton, O.

The architects of Ohio have organized a Chapter with five Institute members ; have held no meet-
ings except for organization ; will be entitled under the Constitution to two delegates in the Conven-
tion.

ARCHITECTURAL ANNUAL 279

THE ARCHITECTURAL LEAGUE OF AMERICA

AN ANNUAL REFERENDUM OF DIVERSE ARCHITECTURAL SOCIETIES

ALBERT KELSEY, Philadelphia, Pa., President.
WILLIAM B. ITTNER, St. Louis, Mo., Eirst Vice-President.
J. W. CASE, Detroit, Mich., Second Vice-President.
HENRY W. TOMLINSON, Chicago, Secretary.
HERBERT B. BRIGGS, Cleveland, Treasurer.

The first annual convention was held at Cleveland, O., June 2 and 3, 1899, and a circuit of
architectural exhibitions was established, a uniform code governing competitions in design was
recommended for adoption by all architectural societies, and the licensing of architects was discussed.
The sentiment of the convention indicated first that scattered architectural clubs have an important
and unique civic relation, that they may lead their cities' development in beauty, and that they may
and must interest the public and. co-operate with it ; and second, that much as is to be learned from
the architecture of the past, contemporaneous conditions offer truer, better and more vital inspira-
tion. Ninety-seven delegates representing thirteen different organizations were in attendance. Fol-
lowing is a list of the societies and voting delegates :

Boston Architectural Club, Irving T. Guild.
Architectural League of New York, Julius F. Harder.
Society of Beaux-Arts Architects, New York, John E. Howe.
Pittsburg Architectural Club, John T. Comes.
Pittsburg Chapter, A. I. A., W. J. East.
Detroit Architectural Sketch Club, J. W. Case.
Chicago Architectural Club, Joseph C. Llewellyn.
St. Louis Architectural Club, William B. Ittner.
Cleveland Chapter, A. I. A., Charles W. Hopkinson.
Cleveland Architectural Club, Herbert B. Briggs.
Toronto (Canada) Architectural Club, J. F. Hynes.
T-Square Club of Philadelphia, Adin B. Lacey.
Illinois Chapter, A. I. A., P. B. Wight.

COMMITTEE UPON CODE GOVERNING COMPETITIONS IN DESIGN

JULIUS F. HARDER, 194 Broadway, New York.

COMMITTEE UPON ARRANGEMENTS OF EXHIBITION CIRCUIT

HENRY W. TOMLINSON, Chairman, Steinway Hall, Chicago.

COMMITTEE UPON MUNICIPAL IMPROVEMENT AND CIVIC EMBELLISHMENT

CASS GILBERT, Chairman, New York and St. Paul.

H. K. BUSH-BROWN, New York, N. Y.

PAUL A. DAVIS, 3d, Philadelphia, Pa.

FREDERICK WILLIAM STRIEBINGER, Cleveland, O.

NOEL WYAT, Baltimore, Md.

GEORGE CAREY, Buffalo, N. Y.

EDWARD HENRI OLIVER, New Orleans.

CHAS. MULFORD ROBINSON, Rochester.

DWIGHT HEALD PERKINS, Chicago.

280

ARCHITECTURAL ANNUAL

CONFERENCE WITH AMERICAN INSTITUTE OF ARCHITECTS ON
COMPETITION CODE AND CO-OPERATION

At the suggestion of the President of the American Institute of Architects the following committee was appointed to confer with a
committee from that body upon the code governing competitions in design and other matters of mutual interest.

DWIGHT HEALD PERKINS, Chairman. Chicago.
JULIUS F. HARDER, New York, N. Y.
PROFESSOR WARREN P. LAIRD, Philadelphia.
WILLIAM B. ITTNER, St. Louis, Mo.
J. W. CASE, Detroit, Mich.

THE ARCHITECTURAL LEAGUE OF NEW YORK

215 West Fifty-seventh Street, New York City.

ROBERT W. GIBSON, President.
C. Y. TURNER, First Vice-President.
H. K. BUSH-BROWN, Second Vice-President.

Executive Committee— -H. K. BUSH-BROWN, W. B. TUTHILL, WM.
E. STONE, WILLIAM H. RUSSELL, JAMES BROWN LORD, C. Y.
TURNER, E. A. JOSSELYN, HORACE MORAN, W. W. KENT.

With the usual object of promoting architecture and the allied fine arts this Society has accom-
plished much in its own field of work. Beyond the annual exhibitions and the free lectures accom-
panying them, the League has considered the advisability of a united exhibition of arts in New
York. Various important municipal measures have been brought to the city's notice, their merits
being urged by the League. Even now a committee has been appointed to report on the advisability
of a co-operative study of architecture and the allied arts.

The Society was founded January 18, 1881, and incorporated November 2, 1888, as national in
character. It is composed of 405 resident members, sixty-nine non-resident members, and two
honorary members. Eight monthly meetings are held in the year, with an annual meeting the first
Tuesday in May. At all of these meetings a dinner is served.

The League was active in forming the Federated Committee on Legislation, composed of dele-
gates from the leading art and building association of the city, and this committee has appointed sub-
committees on the following subjects : Legislation at Albany ; Municipal Assembly and Municipal
Senate ; Parks, Docks and Bridges, and Buildings and Streets. Thus reinforced, the League is in a
position to advocate the sweeping reforms for reconstructing the city discussed at the regular monthly
meetings, to which frequently a number of municipal officials and public-spirited citizens are invited.

The code governing competitions in design and the licensing of architects were first brought to
notice by this Society.

Since 1892 the League has occupied spacious quarters in the American Fine Art Society Building.

Being affiliated with the Fine Arts Federation of New York and the Architectural League of
America, the Club touches upon the work and interests of a larger world. Its usual attendance at
meetings is twenty-nine members and five guests ; at the annual dinner, 121 members and twenty
guests.

Yearly dues, $15.00 ; entrance fee, $10.00 for resident and $5.00 for non-resident members.

THE BOSTON ARCHITECTURAL CLUB

EDWARD H. HOYT, President.

HENRY C. HOLT, Vice-President. GEORGE W. STONE, Treasurer.

FREDERICK N. REED, Secretary, 52 Kilby Street, Boston, Mass.

The Boston Architectural Club was founded and incorporated in 1889 to promote the study and
advancement of architecture and the allied arts, and to bring into social relations those interested in
this object. Its membership now includes 188 names, classified under four heads, as regular, asso-
ciate, honorary and non-resident members.

Club meetings are held every Saturday evening, the annual business meeting falling on the first
Saturday in October, with additional business meetings on the first Saturdays in December, Feb-
ruary, April and June.

ARCHITECTURAL ANNUAL

281

An important feature of this Club is the number of classes in architectural and related subjects
held under its auspices in charge of able instructors.

The last report of the Library Committee indicates a most commendable activity in a particular in
which architectural clubs can do important service to their members, by possessing itself of a collec-
tion of standard architectural works.

In the past, a general exhibition has been held biennially, and each year small exhibitions are
held in the rooms of the Club.

The social spirit is fostered by numerous musical evenings, and by the dinners on the occasion of
the annual meeting and at other times through the year. For several years past, each year some
member of the Club has been enabled by the co-operation of the members to undertake a trip of six
weeks or more for architectural advancement, subject to the approval of a committee in charge, the
member chosen receiving $200 for expenses and being bound to report to the Club upon his return.

A movement is now on foot to secure an associated club house, to be occupied jointly by the
members of the Boston Architectural Club, the Boston Society of Architects and the Twentieth
Century Club.

The Boston Club sent an official delegate to the first convention of the A. L. A., but has taken
no further action toward membership.

The average attendance at regular business meetings is about fifty. The dues are $10.00 annually,
and the initiation fee is the same.

THE CHICAGO ARCHITECTURAL CLUB

Art Institute, Chicago, 111.

JOSEPH C. LLEWELLYN, President.
ROBERT C. SPENCER, Jr., First Vice-President.
HENRY K. HOLSMAN, Second Vice-President.
BIRCH BURDETTE LONG, Secretary.
AUGUST C. WILMANNS, Treasurer.

The organization, now known as the Chicago Architectural Club, began its existence in 1885,
under the name of the Chicago Architectural Sketch Club. The present name was assumed in 1889,
when the Club was incorporated.

The rolls of the Club show a present membership of 156 names, and the Club is one of the most
active and progressive in the country, and holds a high place for its up-to-date spirit and the influence
for good it has shown in municipal and other public improvements.

Weekly meetings are held on Mondajr evenings, from September to June, the annual meeting
taking place on the first Monday in October.

Lectures are frequently given, and the Club arranges for a number of dinners during the year.

The annual exhibition is always an occurrence of moment, and it is worthy of note that the
catalogue issued in conjunction with the exhibition held this spring contained no advertisements,
the expenses being borne by a number of patrons, some of these being architects and the remainder
business men of the city interested in the work of the Club. This is a particularly interesting fact,
as being the first instance of its kind.

The Club has used its influence with good effect during the last year in regard to the improvement
of the lake front, the establishment of one small park, and agitation for other parks and playgrounds
and the extension of the park and boulevard system. The problems of tenements and improved
housing have also occupied the attention of the Club.

The Club will entertain the members of the Architectural League of America at the second annual
convention, which is to be held in Chicago, June 7, 8, 9, 1900.

The Club is a member of the Architectural League of America, and is associated in its efforts for
improvement of the appearance of the city with the Art Association of Chicago, the Municipal Art
League of Chicago, the Chicago Woman's Club, the Illinois Chapter of the American Institute of
Architects, the Chicago Architects' Business Association, the Arts and Crafts Society, the Chicago
Improved Housing Association and the Chicago Public School Art Society.

There is an average attendance of about fifty members at the regular meetings. The dues for
resident active members are $1.00 per month, with an entrance fee of $10.00.

282

ARCHITECTURAL ANNUAL

THE CLEVELAND ARCHITECTURAL CLUB

ALBERT E. SKEEL, President.

WM. R. WATTERSON, Vice-President.

PERLEY H. GRIFFIN, Secretary.

STEPHEN C. GLADWIN, Treasurer.

GEORGE W. ANDREWS, Librarian.

HERBERT B. BRIGGS, Chairman, Current Work.

A. LINCOLN HYDE, Chairman, Entertainment.

The Cleveland Architectural Club, "for the study and advancement of architecture and the
allied arts," was founded November 15, 1894. Its roll consists entirely of an active membership of
fifty names, fifteen to twenty-five of whom are to be found on an average at the regular meetings,
which are held twice a month, except during July and August.

The annual meeting is held on the second Thursday of May.

Lectures are given by members, papers are read and the Club holds one of the exhibitions of the
circuit, and is a member of the Architectural League of America, having entertained that organiza-
tion at its annual convention in 1899.

Considerable of the activity of the Club has been devoted to problems of municipal building and
improvement.

The dues are $6.00 annually, with an initiation fee of $2.00.

THE DETROIT ARCHITECTURAL CLUB

Detroit, Mich.

MUSEUM OF ART

GEORGE H. ROPES, President.
H. A. O'DELL, Vice-President.
ALEXANDER BLUMBERG, Treasurer.
JOHN A. GILLARD, Secretary.
J. W. CASE, WM. REED HILL, FRANCIS S. SWALES, Directors.

Organized September 25, 1895, and incorporated March 14, 1896, the Detroit Club has now a roll
of twenty-eight active members and three honorary. Its interests are local, and especially centering
in the annual exhibition. Regular meetings are held every two weeks, with semi-annual meetings
in October and April. Average attendance, fifteen. Many lectures have been given in the Museum
of Art, and the present exhibition is able to vaunt itself as the largest ever held in the West.
Those who aided in the success of this exhibition are soon to be tendered a banquet, for the Club
feels that this recent exhibit has brought about a closer contact between architects of the city and
helped considerably the influence of the Club in its relations to the municipal authorities.

The Club seeks to affect municipal art by combining with other Detroit organizations. It is a
member of the Architectural League of America, and sent a large delegation to Cleveland.

Dues, $1.50 quarterly ; initiation fee, $1.

SOCIETY OF BEAUX-ARTS ARCHITECTS

New York City.

JOHN GALEN HOWARD, President.

EDWARD L. TILTON, Vice-President.

CHARLES BUTLER, Secretary.

J. H. McGUIRE, Treasurer.

T. E. BLAKE, Cor. Secretary, 28 East 41st Street.

The object of the Society is to cultivate and perpetuate the principles and associations of the
Ecole des Beaux-Arts ; it was incorporated January, 1894. Members must have been pupils at the
Ecole des Beaux-Arts, Paris, in the department of architecture ; associate members must have been in

ARCHITECTURAL ANNUAL

283

an "atelier" of architecture in Paris for at least one year. Honorary members are those who, by
their efforts and assistance, have contributed to the welfare and success of the Society.

Its student' competitions have had a great influence in arousing enthusiasm in architecture
throughout the country.

A Committee upon Education, composed of several distinguished architects, has for several
years gratuitously conducted these concours, carrying on as it were a correspondence school, open to
all students of architecture.

The initiation fee is $10, and the annual dues $10 for members residing within fifty miles of New
York, and $5 to those residing at a greater distance. The annual meeting of the Society is on the
Monday before Thanksgiving, and meetings are also held the third Monday of February and May.
Four exhibitions of students' work held each year.

THE T-SQUARE CLUB OF PHILADELPHIA

1206 Lyudall Alley, Philadelphia.

A DIN B. LACEY, President.
HERBERT C. WISE, Vice-President.
* WILLIAM C. HAYS, Secretary.
HORACE H. BURRELL, Treasurer.

The object of the T-Square Club is to promote the study and practice of architecture and the
kindred arts, to further the appreciation of architecture by the public, and to afford its members
opportunities for friendly competition in design.

It was founded in 1883, and its growth has been rapid and steady from the first. The member-
ship now numbers 156 names, classified as active, associate, contributing, non-resident, life and
honorary. Eight regular monthly meetings are held during the year, the annual meeting falling on
the first Wednesday in May.

An important feature of these meetings is the holding of the monthly competitions, leading to the
award of the T-Square Club Travelling Scholarship, the only "club scholarship" in America.

The Club holds an annual exhibition and occasionally gives lectures, and the social element is
promoted by several dinners and smokers held each year.

The T-Square Club was instrumental in the organization of the Art Federation of Philadelphia,
and is a powerful factor in a growing movement to preserve the historic and artistic monuments of
Philadelphia.

The Club is a member of the Architectural League of America and is in prosperous condition,
the present year being the most successful in its history. There has been an average attendance of
twenty-six at the regular monthly meetings. A recent innovation is the daily lunch club, at which
from fifteen to thirty members meet in the noon hour, and much good has already accrued to the
Club from the consequent discussion of its affairs and the working out of schemes for its advancement
by those whose interests are so closely allied.

The initiation fee is $5.00, and the annual dues the same.

THE PITTSBURG ARCHITECTURAL CLUB

PIERRE A. LIESCH, Vice-President.
HARRY S. ESTEP, Treasurer.

HENRY M. KROPH, President.
GEORGE M. ROWLAND, Secretary.

The Pittsburg Architectural Club was founded in December, 1896, and has a membership of
forty-two names, including active, honorary, non-resident and associate. Meetings are held and
lectures given in the club rooms in the Carnegie Institute, and the exhibitions are held in the art
gallery of the same building.

Mutual benefit and the guidance of public taste have proven the most fruitful fields of activity,
and the annual dinner is a pleasant opportunity for social intercourse among the members.

The Club is associated in its efforts with the Architectural League of America and with the Pitts-
burg Chapter of the American Institute of Architects as individuals.

The dues are $6.00 annually, the initiation fee being $3.00. The average attendance at regular
meetings is from fifteen to twenty members.

284 ARCHITECTURAL ANNUAL

THE TORONTO ARCHITECTURAL EIGHTEEN CLUB

EDEN SMITH, President. , Second Vice-President.

J. C. B. HORWOOD, First Vice-President. C. H. ACTON BOND, Third Vice-President.

ERNEST R. ROLPH, Secretary and Treasurer.

The Toronto Architectural Eighteen Club was organized on January 30th, 1899, for the promo-
tion of good-fellowship among its members, who now number fourteen, all residents.

Regular meetings are held every Monday at 1 o'clock for lunch, the annual meeting being held
on the second Monday in September.

The expenses of the Club are covered by assessments from time to time.

The Club has by criticism and suggestions induced the Ontario Association of Architects (the
parent body) to take up seriously the question of education. A critical report was handed in by the
Club at the recent convention of the Ontario Association. This report spoke of the Association's
failure to bring about any good results, a waste of time reading useless papers, losing opportunities
for bringing good exhibitions to the city and neglect of properly organizing competitions, and the
bad effect upon the public by members of the Association entering unfair competitions. The report
then suggested that the whole energy of the Association be devoted to education, and strongly
emphasized the necessity of an addition to the usual theoretical scientific education by a practical
course of training in design, which should take the form of atelier work based on the methods of
the Ecole des Beaux-Arts.

As a result of this report a combination committee of the Association and Eighteen Club was
organized to formulate a general scheme of education, and at present a committee of the Association
is working out practical details of the scheme formulated by the combination committee. New life
has undoubtedly been infused into the Association by the efforts of the Eighteen Club and good
results are looked for.

An innovation which has just been started in the Club is that of sending a drawing, chosen by
ballot, from the members' work every month, to The Canadian Architect. The editor has con-
sented to reserve one of his illustration pages in every issue for this work, and it is hoped that this
means of careful selection will have a strong tendency to raise the tone of illustrations in the paper,
besides stimulating competition among the members of the Club.

The Club is in the circuit of the Architectural League of America, but there is no movement on
foot for affiliation with any other body at present, though there is a general feeling that, if the
Association works on progressive lines and adopts some practical scheme of education, nearly
all the members of the Eighteen Club will join the Association and combine their efforts with it to
push along this work of education. This of course would in no way affect the Club as a separate
organization, as there is a very strong feeling among the members to keep its exclusive character
one of the strong: features of the Club.

THE LOUISIANA ASSOCIATION OF ARCHITECTS

This is the youngest of the architectural organizations of the country, having been organized as
recently as February of the present year, with Professor William Woodward, of Tulane University,
as temporary President, and a membership of about a dozen prominent architects of New Orleans.

It is an auspicious sign that the Association has been organized to forward the definite purpose
on the part of its members to bring the practice of architecture entirely into the hands of trained and
efficient men through the passage of a State law, "Providing for the Licensing of Architects and
Regulating the Practice of Architecture as a Profession."

ST. LOUIS ARCHITECTURAL CLUB

EDWARD G. GARDEN, President.
WILLIAM B. ITTNER, First Vice-President. FRANK A. P. BURFORD, Secretary.

ERNEST HELFENSTELLAR, Jr., Second Vice-President. ERNEST J. RUSSELL, Treasurer.
ROCKWELL M. MILLIGAN, \ Advisorv S. L. SHERER, ) Auditors

ERNEST KLIPSTEIN, } Advisory- CHAS. H. DEITERING, j Audltors-

ARCHITECTURAL ANNUAL 285

The St. Louis Architectural Club was founded in May, 1S94, and has at the present time a
membership roll of 133 names.

Business meetings are held on the first Wednesday of each month, the annual meeting being held
on the first Wednesday in April.

One, and sometimes two, lectures and social meetings each month are arranged for by the Club,
the lectures being held either in the Club rooms, at 916 Locust Street, or in the Memorial Hall of the-
St. Louis Museum of Fine Arts.

At the first meeting after the annual election of officers it is the custom for the newly-elected
Board to entertain the Club at the annual banquet.

The Club is a member of the Architectural League of America, and holds annual exhibitions in
the galleries of the St. Louis Museum of Fine Arts.

The result of the work done by the St. Louis Architectural Club for the past year is very gratify-
ing, inasmuch as it has placed the Club in a position where it is recognized as influencing public
opinion in matters pertaining to architecture, especially as applied to municipal art. The Club is
also the means of bringing together the nucleus of what it is hoped shortly to make an Arts and
Crafts Society.

The dues are $12.00 per year, in addition to the initiation fee of $5.00. The average attendance
at regular meetings is about twenty-five.

THE WASHINGTON ARCHITECTURAL CLUB

"The Octagon," Washington, D. C.
THEODORE F. LAIST, President.
LOUIS A. SIMON, Secretary. FRANK L. MOLBY, Treasurer.

The Washington Architectural Club was founded in 1892 to promote the study of the art by
means of lectures, meetings, exhibitions and competitions, and by the influence that can be brought
to bear upon piiblic taste by such organizations.

It now numbers eighty active members, professional and non-professional, and four honorary
members.

The annual meeting is held on the first Saturday of June, and regular meetings occur at intervals
of two weeks. Lectures and exhibitions are given during the year, as well as occasional informal
dinners.

The Club is affiliated with the Washington Fine Arts Association and with the Architectural
League of America, and its influence is seen in the closer co-operation it has brought about between
the local architects and draughtsmen and in the awakening of interest in art matters among the
general public, in which the Club has taken an important part.

The annual dues are $6.00, in addition to an initiation fee of $3.00, and there is an average
attendance at regular meetings of from thirty-five to forty members.

THE AMERICAN PARK AND OUTDOOR ART ASSOCIATION

Vice-Presidents :
CHARLES M. LORING, President, JOHN C. OLMSTED, Brookline, Mass.

Minneapolis, Minn. F. J. PARKER, Quincy, 111.

WARREN H. MANNING, Secretary, LEWIS JOHNSON, New Orleans, La.

1 146 Tremout Building, Boston, Mass. M. L. MOORE, Toledo, O.

OSSIAN C. SIMONDS, Treasurer, LEWIS WOOLVERTON, Grimsby, Ont., Can-

Chicago, 111. ada.

THOS. H. MACBRIDE, Iowa City, la.

A convention of this Society will be held in Chicago early in June. Arrangements are being
made to hold a public joint session in Fullerton Hall, in conjunction with the delegates to the second
annual convention of the Architectural League of America.

286

ARCHITECTURAL ANNUAL

ARCHITECTURAL PERIODICALS

THE AMERICAN ARCHITECT AND
BUILDING NEWS

211 Tremont Street, Boston, Mass.
WM. ROTCH WARE, Editor.
International Edition, $16.00 per annum ; Single Numbers, 50 cents.
Regular Edition, $6.00 per annum ; Single Numbers, 15 cents.
The pioneer in architectural journalism in the United States, it remains
to this day the only architectural periodical edited by a single mind.

Until recently it appeared in three editions, the subscription price of the
International Edition being $25.00.

Owing to the hard times many of the $25.00 subscribers renewed their

subscriptions for a cheaper edition (one of which has now been abandoned),

and in this way got a false impression that the journal was running down ;

but those who have taken advantage of the reduction for the International Edition now find it as

good as ever, and unchanged except in price.

The American Architect, appearing, as it does, once a week, supplies a great number of illustra-
tions, its heliotype prints being beautifully clear and accurate. Many of the leading addresses and
technical essays upon architecture appear in its columns in the course of the year. Its editorials are
timely, but seldom positive.

Illustrated Archit,

URAL RECORD. !

<*■■

THE ARCHITECTURAL RECORD

PUBLISHED QUARTERLY BY THE ARCHITECTURAL RECORD CO.,
14-16 Vesey Street, New York.

$1.00 per year, 25 cents per number.

The Architectural Record is, of all architectural journals, the one most
frequently seen outside of professional circles, being frequently displayed
on the news-stands and elsewhere.

It usually publishes one or more serious and well-written leading
articles by writers of eminence, which are for the most part profusely
illustrated. The size of the magazine compels the use of smaller illus-
trations than are customary in the other professional periodicals, but they are always numerous and
carefully chosen with reference to the text.

There is no editorial department, the magazine consisting of signed articles and occasional
plates.

From time to time a special number is entirely devoted to a monograph on the work of some one
prominent American architect, under the title of " Great American Architects." These articles are
fully illustrated with plans and photographs of characteristic work by the architect under
consideration.

THE BROCHURE SERIES OF ARCHITECTURAL ILLUSTRATION

PUBLISHED MONTHLY BY THE BATES & GUILD COMPANY.

Subscription rate, per year, 50 cents ; Single Numbers, 5 cents.

The Brochure Series is for its price and in its field one of the most entirely satisfying
architectural magazines with which we are acquainted.

The policy of the magazine, as its name indicates, is to present monthly a brochure of architec-
tural illustrations. Thus, during the year, the subscriber receives twelve essays, each on a single
subject, with well-written text and from six to ten admirably chosen full-page illustrations.

Its price brings it within the means of all, and appealing particularly to the younger men of the
profession, it has exerted a decided influence for good.

ARCHITECTURAL ANNUAL

287

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THE BRICKBUILDER

PUBLISHED MONTI II A' BY ROGERS & MANSON,

85 Water Street, Boston, Mass.

$5.00 per annum, 50 cents per copy.

Beginning with the first of the year, The Brickbuilder has appeared
in a new cover and in a new form. The advertising space is now con-
fined to the two inner cover pages and the back, and the new magazine
is less encumbered with such matter than any other, and, in addition,
the scope of the publication has been increased.

As a periodical devoted to architecture in materials of clay, The
Brickbuilder was unique, and did much for the development of terra-
cotta and high-class brickwork in the United States. Its progressive
and businesslike publishers soon won the confidence of the better element of the profession by their
promptness in returning drawings borrowed for reproduction, and by visiting once or twice a year the-
leading architects and clay manufacturers of the country they made many friends and were enabled
to give their journal an up-to-date representative tone, lacking in most architectural journals until
The Brickbuilder set the example;

In its present form The Brickbuilder continues to carry out the function indicated by its title and
has added six full-page half-tone plates to its regular contents, and is now a general architectural
magazine.

Signed articles upon timely subjects by eminent authorities appear in each number, and its
editorials are written with a purpose.

Its local news notes are the best published.

In raising the price, the value and interest of the magazine have been more than increased in
proportion.

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THE ARCHITECTURAL REVIEW

PUBLISHED MONTHLY BY THE BATES & GUILD CO.
13 Exchange Street, Boston, Mass.

$5.00 per annum, 50 cents per copy.

In paper, typesetting and general mechanical get-up the Architec
lural Review is the most finished architectural periodical published.
Notwithstanding that it is well filled with advertisements, front and
back, it is a masterpiece in magazine printing, and makes a pleasant
impression as soon as opened. Bach number contains a signed leading
article, which is often profusely illustrated and is always well written.
Its full-page plates are admirably reproduced, and usually display
a very wise selection of subjects. A special feature is the monthly
review of current periodicals, containing terse criticisms of designs and articles.

Its editorials, however, are frequently more instructive to those interested in Boston respectability
and finished English composition than to the student of architecture.

THE SOUTHERN ARCHITECT

PUBLISHED BY EDW. M. DURANT,
214 Temple Court, Atlanta, Ga.

R. A. EVANS, Editor.
Subscription price, $2.50 per annum.
The character of this periodical has been entirely changed within a short time, it being now pub-
lished weekly instead of monthly, and taking the form of a builders' and architects' trade journal
rather than one devoted exclusively to the affairs of the profession.

288

ARCHITECTURAL ANNUAL

THE INLAND ARCHITECT AND NEWS RECORD

ISSUED MONTHLY BY THE INLAND PUBLISHING COMPANY,
609-610 Manhattan Building, Chicago, 111.

ROBERT CRAIK McLEAN, Editor.

Regular Edition, $5.00 per year ; Single Numbers, 50 cents.
Photogravure Edition, $10.00 per year ; Single Numbers, $1.00.
As its name indicates, The Inland Architect has unequalled oppor-
tunities in the matter of territory, drawing on East and West alike for
matter of interest, and if it seems at times to have an inadequate grasp
of the situation the cause probably lies in the extensive field that it
endeavors to occupy.

The plates and illustrations are principally in the nature of photo-
graphs of executed work and of the more prominent competitive designs of the year.

A number of pages are devoted to letterpress, chiefly articles of current interest. The editorials
are comments on matters of contemporary activity, without displaying any strongly marked policy
on the part of the magazine.

ARCHITECTURE

PUBLISHED BY FORBES & CO., LTD.,
160 Fifth Avenue, New York.

$3.00 per annum.

In Architecture, New York has added a new architectural magazine
to the periodical literature of the profession.

In make-up it is dissimilar to all others. Containing no editorial, and

few if any signed articles, it is somewhat lacking in weight and tone. In

its illustrations, which are principally reproductions from American and

foreign photographs, there is the same want of authorship which is so

desirable, and which makes other magazines containing signed articles

and autograph drawings so useful and interesting.

In the publishers' announcement we are told that a consulting board of eminent architects meets

at the first of every month to pass upon manuscript and photographs offered for publication in the

magazine. This shows that it is not the policy of the magazine to publish many drawings.

THE ARCHITECTS' AND BUILDERS' MAGAZINE

PUBLISHED MONTHLY BY WM. T. COMSTOCK,
23 Warren Street, New York.
Subscription price, $1.00 per annum.
This is the old and well-known Architecture and Building in a new form. It now appears
but once a month instead of weekly as heretofore, besides having been altered greatly in appear-
ance, size of page, etc.

MUNICIPAL ENGINEERING-MONTHLY

PUBLISHED BY MUNICIPAL ENGINEERING COMPANY, COMMERCIAL CLUB BUILDING,

INDIANAPOLIS, IND.

WILLIAM FORTUNE, Editor.

$2.00 a year ; Single Copies, 25 cents.

Devoted to paving, sewage, water-works, parks, good roads, street construction, cleaning and
lighting, sanitation and bridges, etc., etc.

The February number for the present year, however, has as its leading article a paper b3^
Frederick Law Olmsted, Jr., entitled " The Relation of Reservoirs to Parks," which we single out

ARCHITECTURAL ANNUAL 289

as illustrating a welcome departure in engineering journalism, and one, if considered in making out
the report of the Committee on Review of the American Society of Municipal Improvement, which
will add greatly to the reviews of engineering activity in American cities regularly classified and pub-
lished in this magazine.

MUNICIPAL AFFAIRS -QUARTERLY

PUBLISHED BY THE REFORM CLUB, NEW YORK— COMMITTEE ON MUNICIPAL ADMINISTRATION,

52 William Street.

Quarterly, iU.oo a year; Single Numbers, 25 cents.

The leading problems discussed in the four copies during the past year were: "Housing
Problems in Cities," "Urban Taxation," "City Government by Taxpayers," and "The City
Beautiful."

Municipal Affairs is not a technical periodical nor a money-making publication. It is in all truth
a well-considered reform magazine devoted to the consideration of city problems from the standpoint
of the taxpayer and citizen, containing articles and symposiums of live interest, written by the lead-
ing authorities and enthusiasts of the day.

It gleans from far and wide advanced ideas upon community life, municipal administration and
city conditions ; and its Bibliographical Index is an easy reference to the latest books, reports,
pamphlets and magazine articles upon similar topics.

BOOK REVIEWS

I LLUSTRATED SYMBOLS AND EMBLEMS, by H. J. Smith. T. S. Leach & Co. $5.00,
* cloth ; $10.00 for leather.

Symbolism is one of the branches of art which is most neglected, yet hardly any of the arts, not
even including that of heraldry, demands greater accuracy in its perfection. The architect and deco-
rator, frequently guided by chance alone, are often unaware of the significance of the symbols of
which they make use.

A book has lately been published, written by Mr. H. F. Smith, of Philadelphia, which deserves
a place in the library of every one interested in symbolism. It is a compilation of religious symbols,
which are treated in full with great care, profusely illustrated and accompanied by Biblical quota-
tions. The chapter on the symbols of the Roman Catholic Church is particularly complete, as is
also that on the symbols of the religion of the Jewish peoples.

It is to be regretted that the book does not include mythological and other symbols of more
modern significance, but we hope that the reception given "Symbols and Emblems" will be such
that Mr. Smith will feel encouraged to continue his good work.

DETAILS OF BUILDING CONSTRUCTION, by C. A. Martin, Assistant Professor of Architec-
ture, Cornell University. 10 x 12 inches, with brief text. Boston: Bates & Guild. $3.00.

Of the many works that are yearly added to contemporaneous architectural literature, few can
compare in usefulness with Mr. Martin's little book upon the details of every-day building con-
struction.

In the preface he tells us that " the scope of the work limits itself to presenting only such details,
principally in wood, as are in common use in domestic architecture and in smaller public buildings."
And in looking through the plates we note the lucid manner in which these are presented and can-
not too strongly recommend his method of printing brief notes on the plates themselves, instead of
presenting them separately in the form of text on an opposite page.

As a work of reference it should be in every office and accessible at all times.

290

ARCHITECTURAL ANNUAL

AMERICAN GRADUATES FROM THE FRENCH
NATIONAL SCHOOL OF FINE ARTS, AND A
LIST OF TRAVELLING SCHOLAR-
SHIP MEN TO DATE

American Graduates in Architecture from the French National School of Fine Arts

J. H. Freedlander . 1895

John V. Van Pelt .... 1895

Herbert Hale 1895

Edward Denby ....... ... 1897

Hugh Talent 1897

John M. Howells 1897

Theodore Piesch
Carey Rodman
Frank E Perkins
J. P. Morgan . .
Donn Barber
Guy Lowell ■ ■ .

Charles Butler 1898 Wyeth 1899

898
898
898

899

Rotch Travelling Scholarship

C. H. Blackall .
S. W. Mead . . .
Geo. F. Newton .
Edgar A. Josselyn
A. W. Lord . . .
Harry Bacon . .
W. T. Partridge
R. C. Spencer, Jr.

884
885
886
887

890

John W. Case 1892

Walter H. Kilham 1893

H. Van B. Magonigle . 1894

WillS. Aldrich . 1895

L. H. Boynton ■ ■ . ■ 1896

H. B. Pennell 1897

Louis C. Newhall 1898

■ ■ PULSIFER 1899

Columbia Fellowships

McKim Fellowships

1890 Adolfo C. Munoz 1891

1892 Alexander McM. Welch . . . . 1891

1894 William L. Thorne 1893

1896 George O. Totten, Jr . . 1893

1898 John R. Pope 1895

Harry A. Jacobs 1897

F. Livingston Pell 1898

William E. Parsons 1899

The Travelling Scholarship in Architecture of the University of Pennsylvania

Arthur A. Stoughton
Horace B. Mann . .
Seth J. Temple ■ .
William K. Fellows
William C. Ayres . .

James P. Jamieson 1893

George Bispham Page 1894

Percy Ash ■ • * 1895

Albert Kelsey 1896

The John Stewardson Memorial Fellowship

Louis Herman Duhring 1897

William Charles Hays 1898

Arthur H. Brockie 1899

Alfred Morton Githens 1900

The Cornell Travelling Fellowship in Architecture
W. Herbert Dole ii

The Austin Fellowship in Architecture of Harvard University

Not yet awarded.

ARCHITECTURAL ANNUAL

291

THE ROYAL INSTITUTE OF BRITISH ARCHITECTS

INCORPORATED BY ROYAL CHARTERS SEVENTH WILLIAM IV. AND FIFTIETH VICTORIA

65TH Session

1 899- 1 900

THE COUNCIL

JULY, 1899— JUNE, 1900

14. There shall always be a Council of the Royal Institute, which Council shall consist of the
President, the Vice-Presidents, the one or more Honorary Secretaries, and of other Members to be
elected at a General Meeting of the Royal Institute in such manner and at such times as By-laws
may from time to time prescribe. — Extract from the Charter,

President.
1899 WILLIAM EMERSON.

1896 WM. MILNER FAWCETT,
M.A., Cantab., F.S.A.

Vice-P/esideuls.

1897 EDW. A. GRUNING.
1899 JOHN McKEAN BRYDON.

The Honorary Secretary.
ALEX. GRAHAM, F.S.A.

Members of Council.

FRANK T. BAGGALLAY.

THOS. BLASHILL.

JAMES BROOKS.

JOHN JAMES BURNET, A.R.S.A.

W. D. CAROE, M.A., Cantab., F.S.A.

THOS. E. COLLCUTT.

J. ALFRED GOTCH, F.S.A.

EDWIN T. HALL.

HENRY T. HARE.

ED. W. MOUNTFORD.

BERESFORD PITE.

JOHN SLATER, B.A., Lond.

R. PHENE SPIERS, F.S.A.

H. HEATHCOTE STATHAM.

LEONARD STOKES.

SIR JOHN TAYLOR, K.C.B.

PAUL WATERHOUSE, M.A., Oxon.

ASTON WEBB, A.R.A., F.S.A.

JAMES S. GIBSON.

Associate Members of Council.

H. VAUGHAN LANCHESTER.

Representatives of Allied Societies.

DAVID BARCLAY,

Glasgow Institute of Architects.
ROBERT I. BENNETT,

Manchester Society of Architects.
JAMES CROCKER,

Devon and Exeter Architectural Society.
THOMAS DREW, R.H.A.,

Royal Inst, of the Archts. of Ireland.
ROBERT EVANS,

Nottingham Architectural Society.

CHARLES B. FOWLER,

Cardiff, South Wales, and Monmouthshire
Architects' Society.
WILLIAM GLOVER,

Northern Architectural Association.
ALBERT E. SAWDAY,

Leicester and Leicestershire Society of Ar-
chitects.
JOSEPH SMITH,

Sheffield Society of Architects.

292

ARCHITECTURAL ANNUAL

Represefitative of the Architectural Association (Lonaori).
G. H. FELLOWES PRYNNE, President A. A.

Total number of members of the Council, 35. Six members form a quorum.
The Council meet at 4.30 p.m. every Monday, when a Sessional Meeting is held [see Almanac]
and at such other times as circumstances require.

The Secretary of the Royal Institute.
W. J. LOCKE, B.A., Cantab.

*%* All communications should be addressed The Secretary R.I.B.A. at the Office of the Institute,
9 Conduit Street, Hanover Square, London, W.

ROYAL GOLD MEDALLISTS.

The Royal Gold Medal for the promotion of architecture, the gift of Her Majesty the Queen, is
annually conferred on some distinguished architect, or man of science or letters, who has designed
or executed a building of high merit, or produced a work tending to promote or facilitate the knowl-
edge of architecture or the various branches of science connected therewith. The following is a
complete roll of the recipients :

1848 *CHAS. ROBT. COCKERELL.

1849 *LUIGI CANINA, Italy.

1850 *SIR CHARLES BARRY.

1851 *THOMAS L. DONALDSON.

1852 *CHEV. LEO VON KLENZE, Austria-

Hungary.

1853 *SIR ROBERT SMIRKE.

1854 *PHILIP HARDWICK.

1855 *J. I. HITTORFF, France.

1856 *SIR WILLIAM TITE.

1857 *OWEN JONES.

1858 *AUGUST STULER, Germany.

1859 *SIR G. GILBERT SCOTT.
i860 *SYDNEY SMIRKE.

1861 *J. B. LESUEUR, France.

1862 *REV. ROBERT WILLIS.

1863 *ANTHONYSALVIN.

1864 *E. E. VIOLLET-LE-DUC, France.

1865 *SIR JAMES PENNETHORNE.

1866 *SIR M. DIGBY WYATT.

1867 *CHARLES TEXIER, France.

1868 *SIR HENRY LAYARD.

1869 *C. R. LEPSIUS, Germany.

1870 *BENJAMIN FERREY.

1871 *JAMES FERGUSSON.

1872 *BARON VON SCHMIDT, Austria.

1873 *THOMAS HENRY WYATT.

1874 *GEO. EDMUND STREET.

1875 *EDMUND SHARPE.

* The names of those deceased

1878
1879

1876 *JOSEPH LOUIS DUG, France.

1877 CHARLES BARRY, F.S.A.
ALFRED WATERHOUSE, R. A., LL.D. ,

Correspondant of the Institut de France.
CHARLES JEAN MELCHIOR, MAR-
QUIS DE VOGUE.

1880 *JOHN L. PEARSON.

1881 *GEORGE GODWIN.

1882 *BARON VON FERSTEL, Austria.

1883 F. C. PENROSE, F.R.S., D.Litt, D.CL-,

F.S.A.
W. BUTTERFIELD, F.S.A.
*H. SCHLIEMANN, Germany.
*CHARLES GARNIER, France.
*EWAN CHRISTIAN.

1888 *BARON VON HANSEN, Austria.

1889 *SIR CHARLES T. NEWTON.
*JOHN GIBSON.
SIR ARTHUR W. BLOMFIELD, M.A.,

Cantab., A.R.A., F.S.A.
*CESAR DALY, France.
*RICHARD MORRIS HUNT, United

States.

1894 *LORD LEIGHTON OF STRETTON.

1895 JAMES BROOKS.

1896 ERNEST GEORGE.

1897 Dr. P. J. H. CUYPERS, Holland.

1898 Professor GEORGE AITCHISON, R.A.

1899 GEO. FREDERICK BODLEY, A.R.A.
are marked with an asterisk.

1884
1885
1886
1887

1890
1891

1892
1893

It will be observed that 17 out of 52 recipients of the above honor have been foreigners ; of these,
but one was from the United States.

In 1874 John Ruskin was selected by the Council, but declined to be a recipient of the Royal
Gold Medal.

ARCHITECTURAL ANNUAL

Magnesia, 85 per cent.

15 per cent. Asbestos Fibre

Architects and Consulting Engineers

WHO WANT A SAFE, PERMANENT

Steam Pipe ™« Boiler Covering

and one that will save most heat — most coal — most money ;
one that will pay for itself in a very short time, and prove a
most economical investment ;

One Entirely Free from such Injurious Compounds as

PLASTER OF PARIS

a material composing, to the extent of about 80 per cent, to
90 per cent., most of the moulded coverings sold as Standard
Asbestos, Asbestos-Magnesia, etc., etc., should use

Magnesia Sectional Covering

85 per cent. Pure Carbonate of Magnesia and 15 per cent, of
good Asbestos Fibre

SAFE, RELIABLE, EASILY APPLIED, VERY LIGHT

Manufactured only by

*»&*. KEASBEY & MATTISON .*au*

COMPANY fi

Ambler, F*enna.

SELLING AGENCIES IN ALL LARGE CITIES

'^WlTMOUl

ARCHITECTURAL ANNUAL

Every Architect and Designer

SHOULD KNOW THE FOUNDATION
AND MEANING OF

€Ijitrri| Sgmliols

ABOUT 4OO ARE SHOWN AND EXPLAINED IN

S * *

ILLUSTRATED

Symbols anb Emblems

JEWISH, EARLY CHRISTIAN, GREEK,
LATIN, AND MODERN CHURCHES

H. J. SMITH

PMlntH'tphln:
T. S. LEACH & COMPANY

29 NORTH SEVENTH STREET
IQJDO

Royal Quarto, Extra Cloth $6.00

Full Seal Leather, wide margins, gilt top 12.50

SPECIAL OFFER

To introduce this invaluable work to the Archi-
tects of America we offer to send it, postpaid, Until
Ociober 1st, 1900, to any member of the bodies
constituting the Architectural League of America,
at the reduced prices of $5.00 for the Cloth and
$10.00 for the Full Leather Edition.

T. S. Leach & Co., Publishers

29 N. Seventh Street, Philadelphia

Ft!*

ARCHITECTURAL ANNUAL

iii

D'Olier Engineering Co

Engineers

125 and 127 South Eleventh Street
Philadelphia, Pa.

Engineering and

Contracting

Work

Complete Steam

and Electrical

Installations

Electrical
Manufacturing

RECENT WORK IN VARIOUS LINES

Bell Telephone Co., Philadelphia.

Pennsylvania Railroad Co., Altoona, Pa.

Philadelphia Saving Fund, Philadelphia.

Boys' High School, Philadelphia.

Strawbridge & Clothier, Philadelphia.

Boys' House of Refuge, Glen Mills, Pa.

Nolde & Horst, Reading, Pa.

Midvale Steel Co., Nicetown, Philadelphia.

Wm. Ayres & Sons, Philadelphia.

Philadelphia & Reading Subway Stations, Philadelphia.

Lukens Iron and Steel Co., Coatesville, Pa.

Blossburg Electric Light and Power Co., Blossburg, Pa.

Lansdale Electric Light and Power Co., Lansdale, Pa.

Midvale Foundry Co., Allentown, Pa.

Piedmont Electric Light Co., Piedmont, W. Va.

Boston Post Office, Boston, Mass.

John Williams Mfg. Co., Philadelphia.

U. S. Sugar Refinery, Camden, N. J.

Wm P. Clyde & Co., Philadelphia.

West End Trust Building, Philadelphia.

McCallum & McCallum, Philadelphia.

Commonwealth Title Insurance and Trust Co., Philadelphia.

League Island Navy Yard, Philadelphia.

John B. Stetson Co., Philadelphia.

University of Pennsylvania Law School Building, Philadelphia.

St. Agnes" Hospital, Philadelphia.

Presbyterian Hospital, Philadelphia.

St. Joseph's Hospital, Philadelphia.

M. E. Home for the Aged, Philadelphia.

F. T. S. D arley, Philadelphia.

P. A. B. Widener, Ashbourne, Pa.

Col. Wm. L. Elkins, Ashbourne, Pa.

Wm. Wood, Wayne, Pa.

Thos. McKean, Philadelphia.

John G. Carruth, Philadelphia.

Clement M. Griscom, Haverford, Pa.

Church of the Immaculate Conception. Germantown. Philadelphia.

Church of the Gesu, Philadelphia.

St. Luke's Epiphany Church, Philadelphia.

St. Francis Xavier's Church, Philadelphia.

St. John's Cathedral, Savannah, Ga.

Church of Our Lady of Mercy, Philadelphia.

Lawrence Cement Co. of Pennsylvania, Siegfried, Pa.

ARCHITECTURAL ANNUAL

SHEPLEY, RUTAN & COOLIDGE, ARCHITECTS, BOSTON

CABOT'S CREOSOTE SHINGLE STAINS

The original Shingle Stains, and the standard of shingle-stain excellence, distinguishable by the clearness and transparency and
soft depth and richness of their coloring effects. No muddy or tawdry colors, no turning black.

" Creosote is the best wood preservative known." — Trauhvine

Cabot's Sheathing and Deafening "QUILT." Not a mere felt or paper, but a soft, resilient cushion of dead-airspaces, giving
the most perfect conditions for the insulation of heat or the absorption of sound-waves. Indestructible by decay, uninflammable,
repellent to moths and vermin. Samples and Catalogues sent on application

SAMUEL CABOT, SOLE MANUFACTURER ^feSflS^^Mi^SCO

215 DEARBORN ST., CHICAGO Agents at all Central Points

McCAMBRIDGE & CO.

LIMITED

MANUFACTURERS OF

House and Ship Plumbing Supplies

and Specialties

523, 525 AND 527 CHERRY ST.

PHILADELPHIA

ARCHITECTURAL ANNUAL

THE KELSEY WARM-AIR
GENERATOR

How's
lfour
Heater

Commands special attention as the highest type of
heating apparatus. All the good points and none of
the defects of others. Simpler and easier of manage-
ment, more perfect than steam or hot water. No
radiators required; can be connected with your present
system of flues and registers. Takes the place of
two or three hot-air heaters.

15,000 Satisfied Users

The Makin-Kelsey Heating and Mfg* Co*

1717 CHESTNUT STREET
PHILADELPHIA, PA.

STRAIGHT.

Superior
Quality.

SOAP

5PLIT

2 INCH

FireaBrick

clay retorts

JAMB

WEDGE

LARGE VARIETY OF

Circle Brick,
Blocks and Tiles.

ARCH SKEW END SKEW5IDE URGE KE.Y SMALL KEY

Also Distributors "Lehigh" Portland Cement

ARCHITECTURAL ANNUAL

One grade four colors

Paint Specifications

CALLING FOR THE USE OF

Dixon's Silica-Graphite Paint

FOR THE PROTECTION OF

Structural Steel and Tin Roofs

STRUCTURAL STEEL

Before painting, all dirt, scale, oil and foreign matier
of all kinds must be removed from the steel work ; the paint
to be thoroughly brushed out and not applied loo thick.

Before assembling, parts to be in contact and enclosed
shall receive one coat of paint as specified below.

Before the steel work is exposed to the weatherat mill,
and before shipment, one complete coat of Dixon's Silica-
Graphite Paint, Color No. 3, shall be applied.

After erection, the structural steel shall receive a
second and complete coat of Dixon's Silica-Graphite Paint,
Color No. 2.

TIN ROOFS

The tin to be painted with one coat of Dixon's Silica-
Graphite Paint, Color No. 2, on the under surface before
laying.

Immediately after tin roof is laid, carefully clean off
the rosin at seams ; remove all dirt, grease, etc., and apply
two coats of Dixon's Silica-Graphite Paint, Color No. 2.

The paint for structural steel and tin roofs shall be
furnished in original sealed packages to the mill and build-
ing site, READY MIXED for use, as manufactured by the
JOSEPH DIXON CRUCIBLE CO., JERSEY CITY, N. J.

PRACTICAL

ARCHITECTS
CONSULTING ENGINEERS

SPECIFY

Dixon's

Silica-Graphite

Paint

FOR THE PROTECTION OF

Steel Structures and Tin Roofs

BECAUSE OF ITS

COVERING CAPACITY

AND

GREAT DURABILITY

Has been in use thirty years, and time records prove it
to be the most economical protective paint made

Manufactured only by

JOSEPH DIXON CRUCIBLE CO.

JERSEY CITY, N. J., U.S.A.

SILVER LAKE "A"

FOR THIRTY YEARS
THE STANDARD

A SAFE SPECIFICATION FOR SASH CORD

TO PREVENT THE SUBSTITUTION OF AN INFERIOR ARTICLE WE PUT

OUR LABEL ON EVERY HANK

AND AS AN ADDITIONAL PROTECTION

WE STAMP EVERY THREE FEET OF OUR CORD WITH OUR NAME

IF YOU FIND "SILVER LAKE A" STAMPED ON THE CORD IT IS

THE BEST CORD THAT CAN BE MADE

SEND FOR SAMPLES

SILVER LAKE CO.

BOSTON

ARCHITECTURAL ANNUAL

vil

Troy Laundry Machinery Co

•LIMITED-

HIGH-GRADE

(Ti

LAUNDRY APPLIANCES 3

These are what we furnish. From long experience we know
what you want. We carry a large stock and ship promptly.
In setting machinery we use the best materials and do work
that architects accept. The plants always "work," and
results delight proprietors. Snow-white linen beautifully
finished.

WE REFER TO LEADING ARCHITECTS

Send for Catalogue

FACTORIES: Troy, N. Y.

Chicago, Ills.

SALESROOMS : New York City
San Francisco

THE de KOSENKO

MANUFACTURING CO.

DESIGNERS AND MAKERS OF FIXTURES FOR

ELECTRICITY, GAS,

AND ACETYLENE.

MEMORIAL TABLETS, ANCIENT

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IRON

New York
156 Fifth Avenue

Office and Works

N. E. Cor. 19th and Hamilton Sts.

PHILADELPHIA. PA.

vlli

ARCHITECTURAL ANNUAL

PAINTS IN ARCHITECTURE

Architects*
Specifications

^±sll <

(£ry

^ff

72&

/AfTz)

^tz&'jf3Jy ',,l^N

^C8&

THE NEW JERSEY
ZINC COMPANY

71 BROADWAY
NEW YORK CITY

A full discussion of this subject will be found in our pam-
phlet " Paints in Architecture," sent free upon request.

T is a common practice to specify for exterior
painting a priming coat of lead or of ochre and
oil, succeeded by one or two coats of pure
lead, though sometimes the more careful
architects will order the addition to the fin-
ishing coat of a certain proportion of zinc
" to hold the lead in place." It is generally
better practice to use a goodly proportion of
ZINC WHITE throughout, from which the
best result will be obtained if the materials
are thoroughly combined by mechanical
grinding.

For interior work, specifications should
require zinc to the exclusion of lead. The
result will be more satisfactory in beauty,
durability, healthfulness and economy, as no
paint containing an appreciable proportion of
lead will hold its color in an atmosphere where
gas or coal is burned, or where there is any
trace of effluvium from closets, etc., and all
lead paints are liable to "chalk" with the
production of poisonous dust.

John F. Buchanan Gilbert S. Smith

Roswell C. Williams, Jr.

J. F. BUCHANAN
& CO.

Electrical Contracting

and Constructing p n <jj p pprQ

327 Bourse Building

Telephone 4850 PHILADELPHIA

A Fe<w of Our Electrical Installations

Public Buildings

Criminal Court Building, New York

New Court House, Baltimore, Md.

Museum of Science and Arts, Phila.

Seventh Regiment Armory, New York

U. S. P. O., Pittsburgh. Pa.

U. S. Custom House, Cincinnati, Ohio
Schools and Colleges

Jefferson College, Phila.
Hospitals

Pennsylvania Hospital, Phila.
Hotels

Garden Hotel, Atlantic City

Monticello Hotel, Norfolk, Va.
Business Houses

Real Estate Building, Phila.

GARRETT-BUCHANAN
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3, 5 and 12 South Marshall St.
PHILADELPHIA

MANUFACTURERS OF

Water-proof Building
and Roofing Papers

CANVAS BACK RED ROPE
WATER-PROOF SHEATHING

is the most serviceable and best
building; paper on the market

ARCHITECTURAL ANNUAL

[no. Willi nils

[Itchcll
J is. Williams

■ Works

ii B Stillman

Bronze Figure
" Twilight "

JNO. WILLIAMS

Bronze Foundry and
Works

Wrought Iron Works

544 to 556 W. Twenty=seventh St.
NEW YORK

Artisans in Ornamental
Metal Work

BRONZE, BRASS AND
WROUGHT IRON

Architectural, Decorative
Monumental

To Architects' Designs

Designs and Estimates Furnished

By Oi-iN L. Warner To Architects interested in above
Sculptor class of work we will send on appli-

cation, our portfolio of twenty illus-
trated sheets, entitled " Examples
of Bronze Work" to Special
Design, Architectural, Monu-
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Cast by

Jno. Williams

New York

2 . _

■■■#

>m&m&m&mWm&m&.

Bruce Price, Architect. Jno. Williams. X. Y

Philip Martiny, Sculptor.

Erected in Osborn Hall, Y'ale University.

Allard & Son, N. Y.

CAST BROXZE VESTIBULE! DOORS

Residence of P. A. B. Widener, Ogontz, Pa.

Horaci: TRUMBAUER, Architect

Executed bj
Jno. Williams, X. Y

Rankin & Kellogg, Archts., Philadelphia, Pa. Jno. Williams, X. Y.

Erected at First Methodist Church. Germantown, Pa.

ARCHITECTURAL ANNUAL

SAMPSON BUILDING, 63 and 65 Wall Street, New York

CLINTON & RUSSELL, Architects
TERRA-COTTA WORK EXECUTED BY THE

WHITE BRICK AND TERRA-COTTA CO.

ARCHITECTURAL ANNUAL

White Brick and
Terra-Cotta Co.

1 J6 Fifth Ave., New York

Cor. Twentieth

Architectural Terra-Cotta

IN ALL COLORS

Superior Quality of

Solid White
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Will Not Turn Green or Yellow

A comparison of our goods will manifest superiority in

pair of lions ox portico— halter BUiLDixr, execution, vitrification and finish

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Flemer & Koehler, Architects P. Ferrari, Sculptor » 1 »j. 1 » r\

executed by telephone call Architects Drawings

white brick and terra-cotta co. 1984-18TH street Faithfully Reproduced

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SPECIAL SHAPES AND DESIGNS OF THE
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Presbyterian Building, 156 Fifth Ave., NEW YORK

Works, LORILLARD (Keyport P. O.), N. J.

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ARCHITECTURAL ANNUAL

Chas* Emmel

Architectural Carving:, Papier Mache
Compo, Fibrous Plaster and Staff

383

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SUPPLIES

231 and 237 Arch Street, Philadelphia

Makers of the Stained Glass in

the following lately finished

buildings :

Congressional Library,

Washington, D. C.
New Court House, Baltimore, Md.
Hoffman Hall, Gen. Theol. Sem'y,

Episcopal Church, New York
Carnegie Hall, New York

Rhinelander Memorial Church,

New York
Peabody Memorial Church, Boston
St. Thomas' Church,

Washington, D. C.
Winona Public Library, Minnesota
St. Peter's Church, Philadelphia

Public Library, Newark, N. J.

First Baptist Church, Philadelphia

ARCHITECTURAL ANNUAL

xiii

Kansas City, Kansas, April 5th, 1900.

Messrs. C S & Co.,

Chicago, Illinois.
G-entl emen :

"Write to-day to The Fay Manilla Roof-
ing Company, Camden, New Jersey, for
samples of "Waterproof Sheathing and Insula-
ting Papers for all kinds of frame buildings.

Their Insulating Papers are acknowl-
edged by cold-storage experts to be the best
insulators produced. They -will not deteri-
orate with age, and can be made 105 inches
wide in carload lots.

By using these wide goods the number
of joints is reduced to a minimum, and the
insulation thereby greatly improved.

Assuring you that you will be very
much pleased with the results obtained by
using these papers, we are,

Yours very truly,

A P Co.

[JFJLur-,

1706 CHESTNUT STREET,

PHILADELPHIA.

METALLIC WEATHER STRIP TELEPHONE

FRANCIS A. BLACK
FRANCIS F. BLACK

4254 Chestnut Street

F. A. BLACK & SON

Stogdale Building

620 S. "WASHINGTON SQUARE

PHILADELPHIA

House Painting
d Decorating
and Paper Hanging

Innsbruck

Highest Diplomas

and Medals

Awarded by All

the Late

World's Expositions

Established i 36 1

Windows Furnished

to more than 120c

Churches

in all parts of

the Globe

TYR0LESE ART GLASS CO.

(Neuhauser, Dr.jele & Co.)

52 BARCLAY STREET

NEIV YORK

Memorial Windows and Mosaics

THEODORE ROSE, Resident Manager

SOME OF OUR LATEST WORK

Ivory, White and Gold Finishing
Hardwood Polishing of every description
Estimates for all kinds of House Repairs

Correspondence solicited

Long Distance Telephone 3940

St. John's Cathedral,

St- Joseph's Cathedral,

St. Patrick's Cathedral,

Church of the Assumption,

St. Mary's,

Our Lady of Mercy Church,

St. Augustine's,

St. Martin's,

St. Josaphat's,

St. Vincent's,

nnah

Buffalo

Rochester

Syracuse

Dedham, Mass.

Philadelphia

Pittsburg

Chicago

Milwaukee

Chicago

XIV

ARCHITECTURAL ANNUAL

The American Cement Co*

OWNERS OF

The Egypt Portland Cement Works

The Pennsylvania Portland Cement Works

The Columbian Portland Cement Works

The Giant Portland Cement Works

The Jordan (N. Y.) Portland Cement Works

MANUFACTURERS OF

Portland, Improved and Natural
CEMENTS

"Union" and Improved "Union"
Brands

"Giant" and "Egypt "
Portland

Office, 22 and 24 South Fifteenth Street

PHILADELPHIA, PA.

ARCHITECTS

We call attention to the fact that when

Charles Warner Co.'s Lines

are specified, THE BEST is guaranteed
ABSOLUTELY and UNEQUIVOCALLY

NAZARETH PORTLAND CEMENT

Actual use and all tests prove NAZARETH to
be second to no Cement in the world to-day.

CEDAR HOLLOW LIME

THE STANDARD MAGNESIA BUILDING LIME.
The others only claim to be "as good as
Cedar Hollow."

Also Wrightsville and Hanover High Carbon-
ate Building Limes.

BLANC STAINLESS PORTLAND CEMENT

The only positively stainless Cement for use
with CAEN and all FINE LIMESTONES and
MARBLES. Witness the tests by BATTERSON
& ElSELE and others.

IVORY HARD WALL PLASTER

Does not stain delicate coloring used over it;
does not crack ; does not warp the lath ; is
superior for hardness and durability.

Charles Warner Co. Et, Del.

General Sales Agents Philadelphia

THE MERCER BOILER

THOMAS SMEDLEY

['resident

THOS. A. HICKS

Sec'y and Treas.

ESTABLISHED 1853

BOILERS and RADIATORS

FOR WARMING BY

STEAM and HOT WATER

All parts accessible for cleaning, ECONOMICAL

Reed Patent Rotating Grate. SAFE

Double Return Flues. DURABLE

The COTTAGE Heater for model homes.
MILLS and 0. K. Safety Sectional Boilers.

(Columbian and National Export Exposition Medals
for highest efficiency)

THE H. B. SMITH CO.

510 ARCH STREET, PHILADELPHIA

SMEDLEY
CONSTRUCTION CO.

Cement and Asphalt
Pavement and Floors

Fire-Proof Construction
McAdam and Telford Roads

SWIMMING POOLS
CISTERNS and
FILTERING PLANTS

712 Stephen Girard Building

'Phone 14-56 PHILADELPHIA, PA.

ARCHITECTURAL ANNUAL

JOHN ATKINSON
Brickmason and Contractor

405-406 Master Builders' Exchange
18-24 South Seventh Street

PHILADELPHIA

A FEW OF OUR OPERATIONS :

Philadelphia Bourse.

Buildings, House of Refuge.

Glen Mills, Penna.

Philadelphia Saving Fund Society.

National Biscuit Co.'s Bakery.

Drexel Institute.

Cellar, Foundations and Superstructure, Market

and Train Shed, Reading Terminal.
Etc., Etc.

H J. SMITH

271 SOUTH FIFTH STREET
PHILADELPHIA, PA.

cARTISTIC

Stained and Leaded Glass

FOR

CHURCHES

DWELLINGS
ETC.

THE McDANIEL
STEAM TRAP

is the best in the world
for High or Low Pres-
sure. Discharges the
condensation as fast
as it comes to the
trap and always holds

a Water Seal, consequently cannot blow steam.

Easy to repair.

We also Manufacture

REDUCING VALVES

RELIEF VALVES

BLOW=OFF VALVES

EXHAUST PIPE HEADS
STEAM AND OIL SEPARATORS

EJECTORS OR WATER LIFTERS
and other Specialties for Steam users
Send for Catalogue

Watson & McDaniel Co.

146 North Seventh Street
PHILADELPHIA, PA.

13,000,000 BARRELS

"HOFFMAN"

CEMENT have been used
on important Jforks throughout
the United States

No other Cement Company can show such a record

Lawrence Cement Co,

Sales Office, No. \ Broadway, NEW YORK

"DRAGON"

AND OTHER FIRST-CLASS BRANDS
OF

PORTLAND CEMENT

MADE BY

The Lawrence Cement Co. of Penna.
SIEGFRIED, PA.

XVI

ARCHITECTURAL ANNUAL

Goods Worth

^"O^Cf TVf T"l O* are always in demand.

x 7 O The demand is created
by the universal want of goods that can be de-
pended upon. For a generation our Paints and
Varnishes have been supplied to builders and
owners with the most satisfactory results.

From time to time we have added new lines,
so that whatever is needed in the way of

Fillers, Stains, Paints, Enamels,

Varnishes, Floor Wax, Polishes, Etc.,

to finish the modern artistic home or the capacious
building for public purposes, may be found in our
products. Our manufactures are completely up-
to-date and will interest any architect or person
intending to build or remodel.

Send for booklets, samples and full information.

Felton, Sibley & Co*

MAKERS OF

J36-J40 N. 4th St. DAINTS AND
PHILADELPHIA A VARNISHES

Joel Goldthwait & Co.

IMPORTERS AND DEALERS
IN

Fine Carpets

AND

Oriental Rugs

Specialties in Patterns and Colorings
submitted if desired

169 WASHINGTON STREET

NEAR CORNHILL

BOSTON

HIGHEST-GRADE

IMAGINE a solid rubber floor made up of individual
tiles, so interlocked as to form a smooth, compact surface,
which neither jar nor vibration will crack or separate. Arrange
this surface in masses of rich, harmonious color; make it
noiseless, non-slippery, waterproof; give it a marvelous dura-
bility— imagine all these points concentrated in one material,
and you have our

INTERLOCKING
RUBBER TILING

Picture its advantages for the bathroom — handsome,
waterproof, soft and warm to the feet. Think what a floor for
the billiard room — firm, non->lippery foothold, outlasting a
legion of carpets. Its waterproof and wearing qualities
make an ideal flooring for vestibules and verandas. For
yachts and boats of all kinds it's the tile — the only one that
stands vibration and wrenching without cracking or separa-
ting.

Another very strong advantage — can be laid directly over
an old floo. — no matter what its material. Send for samples,
prices and full information.

New York Belting and Packing Co.

LIMITED

GOODYEAR RUBBER BELTING AND PACKING CO.
3o8 Chestnut Street, Philadelphia

IMITATION
MARBLES

MADE ONLY BY THE

MYCENIAN

MARBLE

COMPANY

524-526 WEST 34th STREET
NEW YORK

ARCHITECTURAL ANNUAL

XV111

ARCHITECTURAL ANNUAL

MARQUISE OVER SIDE ENTRANCE OE RESIDENCE FOR W. W. GIBBS, ESO.

Kennedy, Hays & Kelsey, Architects

EXECUTED BV

SHANNON MANUFACTURING CO.

ARCHITECTURAL ANNUAL

Cope & Stewardson]

and -Architects

Frederick M. Mann I

CLASS OF '73 MEMORIAL GATE, UNIVERSITY OF PENNSYLVANIA

Executed by

SHANNON MANUFACTURING I 0

The Shannon Mfg. Co.

MANUFACTURERS OF

Architectural and Ornamental, Cast and Wrought

BRASS, BRONZE and IRON WORK

ELEVENTH AND CATHARINE STREETS

PHILADELPHIA

ARCHITECTURAL ANNUAL

THERE IS NONE BETTER AND NONE A. TRIUMPH OF PERFECTION
"JUST AS GOOD" jrrp

"PANCOAST"

VENTILA TOR

Nothing but intrinsic merit could have forced it to so high a

place in the architects' esteem

Selected in preference to all others for the finest buildings in

the country

GOOD QUALITY and RIGHT PRICES
are our great strong points

„„ r _, , , t SIZES: 2 inches to 10 feet

Manufactured only by the

National Pancoast Ventilator Co.

Sectional View, showing that there are 'no MAIN OFFICE ;

obstructions to Perfect Ventilation 723 Drexel Building:, PHILADELPHIA, PA.

THOMAS A\. SEEDS, Jr.

Contractor and Builder

PHILADELPHIA

ARCHITECTURAL ANNUAL

Stained, Painted, Wrought, Mosaic

Leaded Decorative Glass

For CHURCHES

DWELLINGS and PUBLIC BUILDINGS

IN EVERY STYLE OF THE ART
FROM THEIR OWN

Original Designs

MANUFACTURED BY

The Maclean Co.

WORKS STUDIOS

1612 to 1618 Ludlow Street 615 and 616 Crozer Building

1420 Chestnut Street

Memorial Philadelphia, pa., u. s. a.

W lnQO^A^S TELEPHONE CONNECTION

GAS RANGES

ARE POPULAR FOR

MODERN KITCHENS

WHY NOT SPECIFY

The Fortune Gas Ranges
The Mrs, S, T* Rorer Ranges

MADE IN PHILADELPHIA
BY

Thomas, Roberts, Stevenson Co,

Makers of the Renowned

Specialty Hot-Air Furnace

and

Active Fortune Ranges

THOMAS, ROBERTS, STEVENSON CO.
Philadelphia, U. S. A.

Write for Catalogue

BAYER, GARDNER
& HIMES

WORKERS IN METAL

77 WEST HOUSTON ST.
NEW YORK

Brass and Bronze Grilles

Wrought Iron Work Builders' and Cabinet
Office Railings Hardware
Bank Railings French Hardware
Bronze Tablets Special Hardware of
Metal Signs every description

Architects' Designs Carefully
Executed

XXI 1

ARCHITECTURAL ANNUAL

KNICKERBOCKER LIME
AND MORTAR CO.

and

Lime, Hair, Plaster
Cements

Wholesale and Retail

White's Germania and Globe Cements

Brook and Shoebridge, Deckerhof and
Dagger Cements

American Cements, Vulcanite, Coplay,
Atlas, Improved Union

READY-MIXED MORTAR, Mortar Colors

DEPOTS
24th St. below Callowhill

TELEPHONE I-22-I8

American and Dauphin Sts.

TELEPHONE 5-23-48

PHILADELPHIA

LAFARGE
CEMENT

The only Portland Cement
that does not stain lime-
stone, granite and marble.

Use it for outside stucco
work.

SEARS, HUMBERT & CO.

81-8^ FULTON STREET
NEW YORK

434-436 Prudential Building
BUFFALO, N. Y.

34-36 Clark Street
CHICAGO

George A. Fuller Co.

Building
Construction

ijy Broadway, New York

CHIC A GO

Marquette Building

BOSTON

Btazer Building

ST. LOUIS

Fuller ton Building

BALTIMORE

Atlantic Trust Building

ARCHITECTURAL ANNUAL

xxiii

ENDORSED BY ALL
O ARCHITECTS

Used in all leading Hotels,
Clubs. Institutions, etc.

*;y- ice or
PECMANIGAL

•'REFRIGERATION, Tile Lined for Private Houses
-RIGERATORS.j a Specialty

REFERENCES:

^/€°LD STORAGE)

Offices and Salesrooms. ^^ kSUS^^^PM^ r^—^ Philadelphia Country Club, B.il.i.

Pi,MiiM>fsrm*r£3 1433-35-37 Marshall St ^V--^~^ IBuiLOLrieg p . TJnjon Lcaeu- Athletic

"^JSSSSEmm FACTORY, 1432 34 36 N SIXTH ST St>j^'" ""'"«/ Travelers'. Rittenhousc, Union

^/ra'^^,^^ E. B. ATKINS. M:r. Republican, Pen and Pencil,

Maenncrchor Clubs o( Philada.
Bingham House, Hanover, Lafayette, Colonnade, Bellevue, Stratford Hotels, and many others: Pennsylvania, Presbyterian.
Woman's. University Hospitals, etc.; P. A. B. Widener. Alex. Van Rensselaer, G. W. Elkins, Mrs. G. W. Childs.

Vulcanite Tile and
Mosaic Co.

Interior Wall and Floor Tiling
Art, Marble and Venetian Glass

Mosaics, Wood Mantels and Tiling
Brass Fireplace Furnishing

Estimates and Special Sketches
on Application

Vulcanite Tile and Mosaic Co,

1712 Market Street
Philadelphia

Chas. Stewart & Co.

Bricklavers

and

Contractors

estimates promptly furnished
616 Race Street

Telephone Connection

PHILADELPHIA

We Photograph

For Architects BUILDINGS

(Color values properly
rendered!

INTERIORS
DRAWINGS

We Make Bromide Enlargements in
Black or Sepia

JAMES L. DILLON

Shakespeare Bid*. 1017 Chestnut Street

ELECTRO-TINT

Des^n, ENGRAVING CO.

Embossing

Half - Tone and Line Engravings

WE EXCEL THE WORLD IN

THREE-COLOR
PROCESS

ENGRAVING

1227-29 RACE ST., PHILADELPHIA, PA.

The finkerton Construction Co.

ENGINEERS and
CONTRACTORS

Broad Street and South Penn Square
PHILADELPHIA

West End Trust Building

Electric and Steam Railroads, Factory Buildings
Heavj Masonry and Bridges

xxiv ARCHITECTURAL ANNUAL

C. A. BLUHHARD BLUE PRINT PAPER MFG. CO.

Manufacturers and Importers

Blue, White and Black Process Papers. Linen Prints

MAPS, ATLAS SHEETS, PLANS, DRAWINGS, BLUE PRINTS, ENGRAVINGS

SHOW CARDS, Etc.

No. 38 South Sixth St., Philadelphia, Pa.

m/xiimti^^ SHOW CARDS, Etc. „, ,

MOUNTING Telephone

FOR CLASSIFIED LIST OF ADVERTIS-
ERS SEE PAGE TWELVE, IMMEDIATELY
FOLLOWING TABLE OF CONTENTS

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